Nora Director Anna Campbell Discusses Transforming the Contemporary Musical

Nora Director Anna Campbell Discusses Transforming the Contemporary Musical

      Anna Campbell is an actress, producer, and director hailing from Portland, Oregon. After graduating with honors from Vassar College, she embarked on an acting career, appearing in productions such as Veronica Mars, Mad Men, NCIS LA, Leverage, Grimm, Agents of S.H.I.E.L.D., Teachers, and NCIS, among others. Her directorial debut, Nora, premiered at Cinequest and won the New Visions Award. In the following piece, she discusses the process of modernizing videos.

      As someone who has transitioned from a musical theater enthusiast, I've found that you never truly leave the genre behind. My first feature film as a director, Nora, tells the story of a mother who abandons her dreams of becoming a singer/songwriter to return to suburban life and raise her exceptionally talented six-year-old daughter.

      It was only late in the project that I realized I had unintentionally aimed to reclaim the musical genre, complete with an original indie-rock soundtrack. Whenever Nora, a role I play, experiences an intense moment, the film bursts into a song that resonates with her reality. Six of these songs evolve into full-fledged music videos, presenting me with six chances as an eager first-time filmmaker to experiment with techniques I had never attempted before. Initially, I lacked the confidence to tackle music videos as grand as those I admired on MTV. I approached the principal photography with assurance, knowing I could collaborate with the actors to convey the story I envisioned, but allowing myself to explore the vast canvas of my imagination felt daunting. I expressed to my producers my intention to hire “big-name music video directors” (though I was uncertain about who that would be in 2022, or what budget would be involved). I was fortunate to receive amazing support from a talented local crew in Portland, led by my brave cinematographer, Kevin “Fletch” Fletcher. About a year after we completed principal photography, it was time to create the music videos, and I still had my doubts. Fletch and I discussed my vision, and I explained, “She’s breaking free from her constraints. Like a 1950s housewife smashing her kitchen.” I added, “She’s trying to fit in, like a human among mannequins.” I could sense his smile through the phone.

      Fletch took all the chaotic ideas I shared, whether verbally or scattered across crowded mood boards, and transformed fantasy into reality. It’s the kind of creative collaboration any director lacking technical expertise dreams of—where enthusiasm and passion align, and there’s always a sense of “what if,” never “we can’t.”

      Anna Campbell on ‘Smashing My Very Own Tiny Patriarchy’ in Nora

      Anna Campbell as Nora, and her daughter, Sophie Mara Baaden, as Sadie in Nora. Image by Kevin Fletcher.

      Gradually, I recognized that I had clear concepts for each music video, and that each one was a gut reaction to images that had lingered in my mind as a woman. The women from Archie comics battling for a boy morphed into a rebellious teenage rocker defying social norms and the judgments of cheerleaders. A romance novel was reinterpreted through our heroine who forges her own path, seeking independence rather than romance. I created a straightforward take on an 80s music video where the lead woman is unapologetically herself, disregarding societal expectations. I found myself embodying a mannequin, effectively dismantling my own miniature patriarchy.

      My core design team enthusiastically joined me in crafting these six mini-movies. Carrie Jordan, my art director, matched my excitement with creativity, transforming dull paths into vibrant red carpets using 30 yards of inexpensive red velvet and sourcing perfectly measured vintage wallpaper to keep expenses manageable. Savannah Gordon designed a stunning red dress from fabrics I prudently procured from LA’s garment district. Together, Michelle Stoyanoff and I explored various hairstyles and developed a makeup language that pushed the limits of our creativity.

      Each video stands out in both style and sound, and I partnered with talented artists and high-quality equipment to bring them to fruition. Our favorite visuals for “Tiger,” the ’80s-themed video, were captured using classic in-camera effects from a vintage Panasonic PV-GS400, thanks to the remarkable eye of Fletch’s teenage daughter, Nina. I also became a mannequin, experimenting with movement in low frame rates, adorned only in shapewear and an extravagant amount of fake hair. Ultimately, we utilized drones to document the grand journey in “Left Behind,” featuring our carpets and custom dress in the stunning Columbia River Gorge.

      Step by step, I absorbed a wealth of techniques I was incredibly fortunate to encounter. I learned to think in multiple directions at once, meticulously storyboard, and yet be prepared to adapt seamlessly in the moment while still maintaining a coherent narrative. I expanded the team by collaborating with animator Joshua McCartney in England for “Cruel,” and engaging motion artist Heather Card

Nora Director Anna Campbell Discusses Transforming the Contemporary Musical

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Illustration depicting a tidal disruption event surrounding a supermassive black hole. NASA, ESA, STScI, Ralf Crawford (STScI) Black holes are the ravenous giants of the universe: extremely dense entities capable of consuming any material that ventures too close and then obliterating it. Recent observations from astronomers using the Hubble Space Telescope have captured a black hole actively consuming a star, tearing it apart and producing a significant burst of radiation. This radiation burst, known as a tidal disruption event (TDE), enabled researchers to locate the black hole. The TDE identified as AT2024tvd was remarkable for a particularly uncommon reason: while most supermassive black holes are usually found at the very center of a galaxy, this one is a nomadic rogue. "The typical location for massive black holes within a galaxy is at the center, similar to our Sag A* at the heart of the Milky Way,” said lead researcher Yuhan Yao from UC Berkeley. "That's where scientists usually look for tidal disruption events. However, this one is not at the center; it’s approximately 2,600 light years away. It is the first optically discovered off-nuclear TDE." A six-panel illustration showcases a tidal disruption event around a supermassive black hole. NASA, ESA, STScI, Ralf Crawford (STScI) In addition to Hubble, researchers utilized other instruments like NASA’s Chandra X-Ray Observatory and the NRAO Very Large Array telescope to study the TDE — as depicted above. The black hole starts as a dark and elusive object, but when a star approaches too closely, it is gravitationally captured and elongated, or more technically, “spaghettified” into an extreme form. This process results in a disk-shaped cloud of material encircling the black hole, and this material rapidly spirals into the black hole, generating a flash of radiation across X-ray to radio wavelengths that can be detected from Earth, revealing that the black hole is not centrally located in the galaxy as anticipated. In fact, this galaxy contains not just one supermassive black hole, but two: one at the galactic center and the other as a wandering entity. It is believed that this situation arises when two smaller galaxies collide and merge to create a larger galaxy. “Massive black holes typically reside at the centers of galaxies, but we know that galaxies undergo mergers — that is how they grow. When two galaxies combine to become one, multiple black holes emerge,” explained co-author Ryan Chornock, also from UC Berkeley. “What happens next? We anticipate that they will eventually coalesce, but theorists have predicted a population of black holes that roam within galaxies.” The researchers suggest that the two supermassive black holes in this galaxy could potentially merge in the future, a monumental event that would generate gravitational waves capable of being detected from Earth. This research is set to be published in The Astrophysical Journal Letters. Georgina has been writing about space for Digital Trends for six years, covering topics related to human space exploration and planetary… Amazing image reveals the magnetic fields of our galaxy’s supermassive black hole The Event Horizon Telescope collaboration, known for capturing the historic first image of a black hole, has produced another stunning black hole image. This one illustrates the magnetic fields swirling around the supermassive black hole located at the center of our galaxy, Sagittarius A*. Black holes are difficult to photograph because they engulf anything that strays too close, including light, due to their immensely strong gravitational pull. However, this does not render them invisible. While the black hole itself cannot be seen, the material circling around the edges of the event horizon glows brightly enough to be captured on camera. This new image utilizes a property of light known as polarization to unveil the powerful magnetic fields surrounding the massive black hole. Read more Hubble captures the striking jets of a newborn star A recent image from the Hubble Space Telescope showcases the incredible events occurring as a new star comes into existence. Within a swirling cloud of dust and gas, a newly formed star is emitting powerful jets, ejecting material and cutting through the dust of the surrounding nebula to create this breathtaking scene. The image depicts a system referred to as FS Tau, situated 450 light-years away within a region known as Taurus-Auriga. This area hosts many stellar nurseries where new stars are forming, making it a popular target for astronomers examining star formation. However, this particular system is distinguished by the dramatic characteristics of its newborn star, which has developed an impressive structure known as a Herbig-Haro object. Read more Illustration depicting a tidal disruption event surrounding a supermassive black hole. NASA, ESA, STScI, Ralf Crawford (STScI) Black holes are the ravenous giants of the universe: extremely dense entities capable of consuming any material that ventures too close and then obliterating it. Recent observations from astronomers using the Hubble Space Telescope have captured a black hole actively consuming a star, tearing it apart and producing a significant burst of radiation. This radiation burst, known as a tidal disruption event (TDE), enabled researchers to locate the black hole. The TDE identified as AT2024tvd was remarkable for a particularly uncommon reason: while most supermassive black holes are usually found at the very center of a galaxy, this one is a nomadic rogue. "The typical location for massive black holes within a galaxy is at the center, similar to our Sag A* at the heart of the Milky Way,” said lead researcher Yuhan Yao from UC Berkeley. "That's where scientists usually look for tidal disruption events. However, this one is not at the center; it’s approximately 2,600 light years away. It is the first optically discovered off-nuclear TDE." A six-panel illustration showcases a tidal disruption event around a supermassive black hole. NASA, ESA, STScI, Ralf Crawford (STScI) In addition to Hubble, researchers utilized other instruments like NASA’s Chandra X-Ray Observatory and the NRAO Very Large Array telescope to study the TDE — as depicted above. The black hole starts as a dark and elusive object, but when a star approaches too closely, it is gravitationally captured and elongated, or more technically, “spaghettified” into an extreme form. This process results in a disk-shaped cloud of material encircling the black hole, and this material rapidly spirals into the black hole, generating a flash of radiation across X-ray to radio wavelengths that can be detected from Earth, revealing that the black hole is not centrally located in the galaxy as anticipated. In fact, this galaxy contains not just one supermassive black hole, but two: one at the galactic center and the other as a wandering entity. It is believed that this situation arises when two smaller galaxies collide and merge to create a larger galaxy. “Massive black holes typically reside at the centers of galaxies, but we know that galaxies undergo mergers — that is how they grow. When two galaxies combine to become one, multiple black holes emerge,” explained co-author Ryan Chornock, also from UC Berkeley. “What happens next? We anticipate that they will eventually coalesce, but theorists have predicted a population of black holes that roam within galaxies.” The researchers suggest that the two supermassive black holes in this galaxy could potentially merge in the future, a monumental event that would generate gravitational waves capable of being detected from Earth. This research is set to be published in The Astrophysical Journal Letters. Georgina has been writing about space for Digital Trends for six years, covering topics related to human space exploration and planetary… Amazing image reveals the magnetic fields of our galaxy’s supermassive black hole The Event Horizon Telescope collaboration, known for capturing the historic first image of a black hole, has produced another stunning black hole image. This one illustrates the magnetic fields swirling around the supermassive black hole located at the center of our galaxy, Sagittarius A*. Black holes are difficult to photograph because they engulf anything that strays too close, including light, due to their immensely strong gravitational pull. However, this does not render them invisible. While the black hole itself cannot be seen, the material circling around the edges of the event horizon glows brightly enough to be captured on camera. This new image utilizes a property of light known as polarization to unveil the powerful magnetic fields surrounding the massive black hole. Read more Hubble captures the striking jets of a newborn star A recent image from the Hubble Space Telescope showcases the incredible events occurring as a new star comes into existence. Within a swirling cloud of dust and gas, a newly formed star is emitting powerful jets, ejecting material and cutting through the dust of the surrounding nebula to create this breathtaking scene. The image depicts a system referred to as FS Tau, situated 450 light-years away within a region known as Taurus-Auriga. This area hosts many stellar nurseries where new stars are forming, making it a popular target for astronomers examining star formation. However, this particular system is distinguished by the dramatic characteristics of its newborn star, which has developed an impressive structure known as a Herbig-Haro object. Read more Illustration depicting a tidal disruption event surrounding a supermassive black hole. NASA, ESA, STScI, Ralf Crawford (STScI) Black holes are the ravenous giants of the universe: extremely dense entities capable of consuming any material that ventures too close and then obliterating it. Recent observations from astronomers using the Hubble Space Telescope have captured a black hole actively consuming a star, tearing it apart and producing a significant burst of radiation. This radiation burst, known as a tidal disruption event (TDE), enabled researchers to locate the black hole. The TDE identified as AT2024tvd was remarkable for a particularly uncommon reason: while most supermassive black holes are usually found at the very center of a galaxy, this one is a nomadic rogue. "The typical location for massive black holes within a galaxy is at the center, similar to our Sag A* at the heart of the Milky Way,” said lead researcher Yuhan Yao from UC Berkeley. "That's where scientists usually look for tidal disruption events. However, this one is not at the center; it’s approximately 2,600 light years away. It is the first optically discovered off-nuclear TDE." A six-panel illustration showcases a tidal disruption event around a supermassive black hole. NASA, ESA, STScI, Ralf Crawford (STScI) In addition to Hubble, researchers utilized other instruments like NASA’s Chandra X-Ray Observatory and the NRAO Very Large Array telescope to study the TDE — as depicted above. The black hole starts as a dark and elusive object, but when a star approaches too closely, it is gravitationally captured and elongated, or more technically, “spaghettified” into an extreme form. This process results in a disk-shaped cloud of material encircling the black hole, and this material rapidly spirals into the black hole, generating a flash of radiation across X-ray to radio wavelengths that can be detected from Earth, revealing that the black hole is not centrally located in the galaxy as anticipated. In fact, this galaxy contains not just one supermassive black hole, but two: one at the galactic center and the other as a wandering entity. It is believed that this situation arises when two smaller galaxies collide and merge to create a larger galaxy. “Massive black holes typically reside at the centers of galaxies, but we know that galaxies undergo mergers — that is how they grow. When two galaxies combine to become one, multiple black holes emerge,” explained co-author Ryan Chornock, also from UC Berkeley. “What happens next? We anticipate that they will eventually coalesce, but theorists have predicted a population of black holes that roam within galaxies.” The researchers suggest that the two supermassive black holes in this galaxy could potentially merge in the future, a monumental event that would generate gravitational waves capable of being detected from Earth. This research is set to be published in The Astrophysical Journal Letters. Georgina has been writing about space for Digital Trends for six years, covering topics related to human space exploration and planetary… Amazing image reveals the magnetic fields of our galaxy’s supermassive black hole The Event Horizon Telescope collaboration, known for capturing the historic first image of a black hole, has produced another stunning black hole image. This one illustrates the magnetic fields swirling around the supermassive black hole located at the center of our galaxy, Sagittarius A*. Black holes are difficult to photograph because they engulf anything that strays too close, including light, due to their immensely strong gravitational pull. However, this does not render them invisible. While the black hole itself cannot be seen, the material circling around the edges of the event horizon glows brightly enough to be captured on camera. This new image utilizes a property of light known as polarization to unveil the powerful magnetic fields surrounding the massive black hole. Read more Hubble captures the striking jets of a newborn star A recent image from the Hubble Space Telescope showcases the incredible events occurring as a new star comes into existence. Within a swirling cloud of dust and gas, a newly formed star is emitting powerful jets, ejecting material and cutting through the dust of the surrounding nebula to create this breathtaking scene. The image depicts a system referred to as FS Tau, situated 450 light-years away within a region known as Taurus-Auriga. This area hosts many stellar nurseries where new stars are forming, making it a popular target for astronomers examining star formation. However, this particular system is distinguished by the dramatic characteristics of its newborn star, which has developed an impressive structure known as a Herbig-Haro object. Read more The Surfer, 2025. Directed by Lorcan Finnegan. Featuring Nicolas Cage, Julian McMahon, Justin Rosniak, Alexander Bertrand, Rahel Romahn, Nicholas Cassim, Finn Little, Charlotte Maggi, Nina Young, James Bingham, Miranda Tapsell, Radek Jonak, Rory O’Keeffe, Talon Hopper, Sally Clune, Gautier de Fontaine, Jake Fryer-Hornsby, Adam Leeuwenhart, Dean McAskil, Tobiasz Rodney, Adam Sollis, Oliver Webb, Daniel Williamson, and Austen Wilmot. SYNOPSIS: A man revisits the blissful beach of his youth to surf with his son. After facing humiliation at the hands of some locals, he finds himself embroiled in an escalating conflict that tests his limits. On a drive to an Australian beach with his son, Nicolas Cage's character, credited as The Surfer, gives a speech about embracing life's waves (essentially), which he frames as a metaphor for life’s ups and downs. It’s a humorous, tongue-in-cheek moment, but as the simplistic premise of Lorcan Finnegan’s direction and Thomas Martin’s writing unfolds, the film quickly becomes excruciating to endure, particularly as the central message is heavily reiterated by the 30-minute mark. In retrospect, the filmmakers appear to declare right away, “this is all we have” in their take on Wake in Fright, a renowned Australian film exploring themes of toxic masculinity that has gained renewed significance in the realm of psychological horror over recent years. Having shared a love for surfing with his late father before that tragic loss, attributed to his mother relocating the family to Los Angeles (a clever means of sidestepping the potential accent issues of Australian-born Nicolas Cage), The Surfer seeks to reconnect with his teenage son, Finn Little, credited as The Kid. However, it soon becomes clear that this presumably affluent businessman is under the delusion that purchasing his childhood home will remedy his midlife crisis, which includes his wife leaving him and his subsequent involvement with another man. The Kid is unenthusiastic about spending Christmas with his father and generally seems uninterested in engaging. That proves to be the least of The Surfer's challenges; upon arriving at his childhood beach, he discovers it is now controlled by a trust-fund psychopathic cult leader named Scally (Julian McMahon), who indoctrinates the local beachgoers into believing that suffering is essential to achieving a transcendental freedom and fulfilling one's dreams. This realization means that he and the surrounding locals are determined to psychologically torment The Surfer in every conceivable way. This manipulation plays out like a 4-D chess game, resulting in The Surfer losing everything—from his surfboard to the opportunity to buy back his childhood home, his treasured watch passed down from his father, his car, wallet, and phone. Why stop there? He also suffers physical assaults on multiple occasions and ultimately finds himself with nothing to drink except foul-tasting bathroom water. The silver lining is that Nicolas Cage doesn't go for the over-the-top portrayal; instead, he delivers a more subtle, pitiable mental breakdown, aligning with the cult’s slow and steady psychological manipulation. Throughout this surreal spiral into madness, various questions arise, such as why the police seem to allow the chaos (the cult violently attacks anyone who isn’t local) and whether it holds significance that his only ally is an elderly bearded man who also has a vendetta against these crazies and looks uncannily like a heavily made-up Nicolas Cage. None of these questions receive answers. Kudos go to cinematographer Radek Ladczuk for capturing the intense heat of Christmas-time Australia by the beach, at times leaving viewers unsure whether Nicolas Cage appears sunburned or bruised. Regardless, he consistently looks like a disheveled, sweaty, red-faced mess throughout his unending nightmare. There’s also a hazy, dreamlike score from composer François Tétaz that enhances the mood. The film’s surreal and absurd tone is reminiscent of Lorcan Finnegan’s earlier psychological thriller, Vivarium, which also dealt with a subversion of suburban life (more focused on the horrors of parenting). However, that film seemed more striking in its style and horror, knowing what message it aimed to convey and how to effectively deliver it. In contrast, The Surfer proves to be increasingly frustrating as viewers await Nicolas Cage to take action against his circumstances. Meanwhile, the cult comes off as an afterthought, with characterization reduced to a clichéd take on toxic masculinity. These are waves that aren’t worth riding; wiping out and drowning would likely be more entertaining and eventful. Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ Robert Kojder is a member of the Chicago Film Critics Association, Critics Choice Association, The Surfer, 2025. Directed by Lorcan Finnegan. Featuring Nicolas Cage, Julian McMahon, Justin Rosniak, Alexander Bertrand, Rahel Romahn, Nicholas Cassim, Finn Little, Charlotte Maggi, Nina Young, James Bingham, Miranda Tapsell, Radek Jonak, Rory O’Keeffe, Talon Hopper, Sally Clune, Gautier de Fontaine, Jake Fryer-Hornsby, Adam Leeuwenhart, Dean McAskil, Tobiasz Rodney, Adam Sollis, Oliver Webb, Daniel Williamson, and Austen Wilmot. SYNOPSIS: A man revisits the blissful beach of his youth to surf with his son. After facing humiliation at the hands of some locals, he finds himself embroiled in an escalating conflict that tests his limits. On a drive to an Australian beach with his son, Nicolas Cage's character, credited as The Surfer, gives a speech about embracing life's waves (essentially), which he frames as a metaphor for life’s ups and downs. It’s a humorous, tongue-in-cheek moment, but as the simplistic premise of Lorcan Finnegan’s direction and Thomas Martin’s writing unfolds, the film quickly becomes excruciating to endure, particularly as the central message is heavily reiterated by the 30-minute mark. In retrospect, the filmmakers appear to declare right away, “this is all we have” in their take on Wake in Fright, a renowned Australian film exploring themes of toxic masculinity that has gained renewed significance in the realm of psychological horror over recent years. Having shared a love for surfing with his late father before that tragic loss, attributed to his mother relocating the family to Los Angeles (a clever means of sidestepping the potential accent issues of Australian-born Nicolas Cage), The Surfer seeks to reconnect with his teenage son, Finn Little, credited as The Kid. However, it soon becomes clear that this presumably affluent businessman is under the delusion that purchasing his childhood home will remedy his midlife crisis, which includes his wife leaving him and his subsequent involvement with another man. The Kid is unenthusiastic about spending Christmas with his father and generally seems uninterested in engaging. That proves to be the least of The Surfer's challenges; upon arriving at his childhood beach, he discovers it is now controlled by a trust-fund psychopathic cult leader named Scally (Julian McMahon), who indoctrinates the local beachgoers into believing that suffering is essential to achieving a transcendental freedom and fulfilling one's dreams. This realization means that he and the surrounding locals are determined to psychologically torment The Surfer in every conceivable way. This manipulation plays out like a 4-D chess game, resulting in The Surfer losing everything—from his surfboard to the opportunity to buy back his childhood home, his treasured watch passed down from his father, his car, wallet, and phone. Why stop there? He also suffers physical assaults on multiple occasions and ultimately finds himself with nothing to drink except foul-tasting bathroom water. The silver lining is that Nicolas Cage doesn't go for the over-the-top portrayal; instead, he delivers a more subtle, pitiable mental breakdown, aligning with the cult’s slow and steady psychological manipulation. Throughout this surreal spiral into madness, various questions arise, such as why the police seem to allow the chaos (the cult violently attacks anyone who isn’t local) and whether it holds significance that his only ally is an elderly bearded man who also has a vendetta against these crazies and looks uncannily like a heavily made-up Nicolas Cage. None of these questions receive answers. Kudos go to cinematographer Radek Ladczuk for capturing the intense heat of Christmas-time Australia by the beach, at times leaving viewers unsure whether Nicolas Cage appears sunburned or bruised. Regardless, he consistently looks like a disheveled, sweaty, red-faced mess throughout his unending nightmare. There’s also a hazy, dreamlike score from composer François Tétaz that enhances the mood. The film’s surreal and absurd tone is reminiscent of Lorcan Finnegan’s earlier psychological thriller, Vivarium, which also dealt with a subversion of suburban life (more focused on the horrors of parenting). However, that film seemed more striking in its style and horror, knowing what message it aimed to convey and how to effectively deliver it. In contrast, The Surfer proves to be increasingly frustrating as viewers await Nicolas Cage to take action against his circumstances. Meanwhile, the cult comes off as an afterthought, with characterization reduced to a clichéd take on toxic masculinity. These are waves that aren’t worth riding; wiping out and drowning would likely be more entertaining and eventful. Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ Robert Kojder is a member of the Chicago Film Critics Association, Critics Choice Association, The Surfer, 2025. Directed by Lorcan Finnegan. Featuring Nicolas Cage, Julian McMahon, Justin Rosniak, Alexander Bertrand, Rahel Romahn, Nicholas Cassim, Finn Little, Charlotte Maggi, Nina Young, James Bingham, Miranda Tapsell, Radek Jonak, Rory O’Keeffe, Talon Hopper, Sally Clune, Gautier de Fontaine, Jake Fryer-Hornsby, Adam Leeuwenhart, Dean McAskil, Tobiasz Rodney, Adam Sollis, Oliver Webb, Daniel Williamson, and Austen Wilmot. SYNOPSIS: A man revisits the blissful beach of his youth to surf with his son. After facing humiliation at the hands of some locals, he finds himself embroiled in an escalating conflict that tests his limits. On a drive to an Australian beach with his son, Nicolas Cage's character, credited as The Surfer, gives a speech about embracing life's waves (essentially), which he frames as a metaphor for life’s ups and downs. It’s a humorous, tongue-in-cheek moment, but as the simplistic premise of Lorcan Finnegan’s direction and Thomas Martin’s writing unfolds, the film quickly becomes excruciating to endure, particularly as the central message is heavily reiterated by the 30-minute mark. In retrospect, the filmmakers appear to declare right away, “this is all we have” in their take on Wake in Fright, a renowned Australian film exploring themes of toxic masculinity that has gained renewed significance in the realm of psychological horror over recent years. Having shared a love for surfing with his late father before that tragic loss, attributed to his mother relocating the family to Los Angeles (a clever means of sidestepping the potential accent issues of Australian-born Nicolas Cage), The Surfer seeks to reconnect with his teenage son, Finn Little, credited as The Kid. However, it soon becomes clear that this presumably affluent businessman is under the delusion that purchasing his childhood home will remedy his midlife crisis, which includes his wife leaving him and his subsequent involvement with another man. The Kid is unenthusiastic about spending Christmas with his father and generally seems uninterested in engaging. That proves to be the least of The Surfer's challenges; upon arriving at his childhood beach, he discovers it is now controlled by a trust-fund psychopathic cult leader named Scally (Julian McMahon), who indoctrinates the local beachgoers into believing that suffering is essential to achieving a transcendental freedom and fulfilling one's dreams. This realization means that he and the surrounding locals are determined to psychologically torment The Surfer in every conceivable way. This manipulation plays out like a 4-D chess game, resulting in The Surfer losing everything—from his surfboard to the opportunity to buy back his childhood home, his treasured watch passed down from his father, his car, wallet, and phone. Why stop there? He also suffers physical assaults on multiple occasions and ultimately finds himself with nothing to drink except foul-tasting bathroom water. The silver lining is that Nicolas Cage doesn't go for the over-the-top portrayal; instead, he delivers a more subtle, pitiable mental breakdown, aligning with the cult’s slow and steady psychological manipulation. Throughout this surreal spiral into madness, various questions arise, such as why the police seem to allow the chaos (the cult violently attacks anyone who isn’t local) and whether it holds significance that his only ally is an elderly bearded man who also has a vendetta against these crazies and looks uncannily like a heavily made-up Nicolas Cage. None of these questions receive answers. Kudos go to cinematographer Radek Ladczuk for capturing the intense heat of Christmas-time Australia by the beach, at times leaving viewers unsure whether Nicolas Cage appears sunburned or bruised. Regardless, he consistently looks like a disheveled, sweaty, red-faced mess throughout his unending nightmare. There’s also a hazy, dreamlike score from composer François Tétaz that enhances the mood. The film’s surreal and absurd tone is reminiscent of Lorcan Finnegan’s earlier psychological thriller, Vivarium, which also dealt with a subversion of suburban life (more focused on the horrors of parenting). However, that film seemed more striking in its style and horror, knowing what message it aimed to convey and how to effectively deliver it. In contrast, The Surfer proves to be increasingly frustrating as viewers await Nicolas Cage to take action against his circumstances. Meanwhile, the cult comes off as an afterthought, with characterization reduced to a clichéd take on toxic masculinity. These are waves that aren’t worth riding; wiping out and drowning would likely be more entertaining and eventful. Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ Robert Kojder is a member of the Chicago Film Critics Association, Critics Choice Association, Illustration depicting a tidal disruption event surrounding a supermassive black hole. NASA, ESA, STScI, Ralf Crawford (STScI) Black holes are the ravenous giants of the universe: extremely dense entities capable of consuming any material that ventures too close and then obliterating it. Recent observations from astronomers using the Hubble Space Telescope have captured a black hole actively consuming a star, tearing it apart and producing a significant burst of radiation. This radiation burst, known as a tidal disruption event (TDE), enabled researchers to locate the black hole. The TDE identified as AT2024tvd was remarkable for a particularly uncommon reason: while most supermassive black holes are usually found at the very center of a galaxy, this one is a nomadic rogue. "The typical location for massive black holes within a galaxy is at the center, similar to our Sag A* at the heart of the Milky Way,” said lead researcher Yuhan Yao from UC Berkeley. "That's where scientists usually look for tidal disruption events. However, this one is not at the center; it’s approximately 2,600 light years away. It is the first optically discovered off-nuclear TDE." A six-panel illustration showcases a tidal disruption event around a supermassive black hole. NASA, ESA, STScI, Ralf Crawford (STScI) In addition to Hubble, researchers utilized other instruments like NASA’s Chandra X-Ray Observatory and the NRAO Very Large Array telescope to study the TDE — as depicted above. The black hole starts as a dark and elusive object, but when a star approaches too closely, it is gravitationally captured and elongated, or more technically, “spaghettified” into an extreme form. This process results in a disk-shaped cloud of material encircling the black hole, and this material rapidly spirals into the black hole, generating a flash of radiation across X-ray to radio wavelengths that can be detected from Earth, revealing that the black hole is not centrally located in the galaxy as anticipated. In fact, this galaxy contains not just one supermassive black hole, but two: one at the galactic center and the other as a wandering entity. It is believed that this situation arises when two smaller galaxies collide and merge to create a larger galaxy. “Massive black holes typically reside at the centers of galaxies, but we know that galaxies undergo mergers — that is how they grow. When two galaxies combine to become one, multiple black holes emerge,” explained co-author Ryan Chornock, also from UC Berkeley. “What happens next? We anticipate that they will eventually coalesce, but theorists have predicted a population of black holes that roam within galaxies.” The researchers suggest that the two supermassive black holes in this galaxy could potentially merge in the future, a monumental event that would generate gravitational waves capable of being detected from Earth. This research is set to be published in The Astrophysical Journal Letters. Georgina has been writing about space for Digital Trends for six years, covering topics related to human space exploration and planetary… Amazing image reveals the magnetic fields of our galaxy’s supermassive black hole The Event Horizon Telescope collaboration, known for capturing the historic first image of a black hole, has produced another stunning black hole image. This one illustrates the magnetic fields swirling around the supermassive black hole located at the center of our galaxy, Sagittarius A*. Black holes are difficult to photograph because they engulf anything that strays too close, including light, due to their immensely strong gravitational pull. However, this does not render them invisible. While the black hole itself cannot be seen, the material circling around the edges of the event horizon glows brightly enough to be captured on camera. This new image utilizes a property of light known as polarization to unveil the powerful magnetic fields surrounding the massive black hole. Read more Hubble captures the striking jets of a newborn star A recent image from the Hubble Space Telescope showcases the incredible events occurring as a new star comes into existence. Within a swirling cloud of dust and gas, a newly formed star is emitting powerful jets, ejecting material and cutting through the dust of the surrounding nebula to create this breathtaking scene. The image depicts a system referred to as FS Tau, situated 450 light-years away within a region known as Taurus-Auriga. This area hosts many stellar nurseries where new stars are forming, making it a popular target for astronomers examining star formation. However, this particular system is distinguished by the dramatic characteristics of its newborn star, which has developed an impressive structure known as a Herbig-Haro object. Read more Illustration depicting a tidal disruption event surrounding a supermassive black hole. NASA, ESA, STScI, Ralf Crawford (STScI) Black holes are the ravenous giants of the universe: extremely dense entities capable of consuming any material that ventures too close and then obliterating it. Recent observations from astronomers using the Hubble Space Telescope have captured a black hole actively consuming a star, tearing it apart and producing a significant burst of radiation. This radiation burst, known as a tidal disruption event (TDE), enabled researchers to locate the black hole. The TDE identified as AT2024tvd was remarkable for a particularly uncommon reason: while most supermassive black holes are usually found at the very center of a galaxy, this one is a nomadic rogue. "The typical location for massive black holes within a galaxy is at the center, similar to our Sag A* at the heart of the Milky Way,” said lead researcher Yuhan Yao from UC Berkeley. "That's where scientists usually look for tidal disruption events. However, this one is not at the center; it’s approximately 2,600 light years away. It is the first optically discovered off-nuclear TDE." A six-panel illustration showcases a tidal disruption event around a supermassive black hole. NASA, ESA, STScI, Ralf Crawford (STScI) In addition to Hubble, researchers utilized other instruments like NASA’s Chandra X-Ray Observatory and the NRAO Very Large Array telescope to study the TDE — as depicted above. The black hole starts as a dark and elusive object, but when a star approaches too closely, it is gravitationally captured and elongated, or more technically, “spaghettified” into an extreme form. This process results in a disk-shaped cloud of material encircling the black hole, and this material rapidly spirals into the black hole, generating a flash of radiation across X-ray to radio wavelengths that can be detected from Earth, revealing that the black hole is not centrally located in the galaxy as anticipated. In fact, this galaxy contains not just one supermassive black hole, but two: one at the galactic center and the other as a wandering entity. It is believed that this situation arises when two smaller galaxies collide and merge to create a larger galaxy. “Massive black holes typically reside at the centers of galaxies, but we know that galaxies undergo mergers — that is how they grow. When two galaxies combine to become one, multiple black holes emerge,” explained co-author Ryan Chornock, also from UC Berkeley. “What happens next? We anticipate that they will eventually coalesce, but theorists have predicted a population of black holes that roam within galaxies.” The researchers suggest that the two supermassive black holes in this galaxy could potentially merge in the future, a monumental event that would generate gravitational waves capable of being detected from Earth. This research is set to be published in The Astrophysical Journal Letters. Georgina has been writing about space for Digital Trends for six years, covering topics related to human space exploration and planetary… Amazing image reveals the magnetic fields of our galaxy’s supermassive black hole The Event Horizon Telescope collaboration, known for capturing the historic first image of a black hole, has produced another stunning black hole image. This one illustrates the magnetic fields swirling around the supermassive black hole located at the center of our galaxy, Sagittarius A*. Black holes are difficult to photograph because they engulf anything that strays too close, including light, due to their immensely strong gravitational pull. However, this does not render them invisible. While the black hole itself cannot be seen, the material circling around the edges of the event horizon glows brightly enough to be captured on camera. This new image utilizes a property of light known as polarization to unveil the powerful magnetic fields surrounding the massive black hole. Read more Hubble captures the striking jets of a newborn star A recent image from the Hubble Space Telescope showcases the incredible events occurring as a new star comes into existence. Within a swirling cloud of dust and gas, a newly formed star is emitting powerful jets, ejecting material and cutting through the dust of the surrounding nebula to create this breathtaking scene. The image depicts a system referred to as FS Tau, situated 450 light-years away within a region known as Taurus-Auriga. This area hosts many stellar nurseries where new stars are forming, making it a popular target for astronomers examining star formation. However, this particular system is distinguished by the dramatic characteristics of its newborn star, which has developed an impressive structure known as a Herbig-Haro object. Read more Illustration depicting a tidal disruption event surrounding a supermassive black hole. NASA, ESA, STScI, Ralf Crawford (STScI) Black holes are the ravenous giants of the universe: extremely dense entities capable of consuming any material that ventures too close and then obliterating it. Recent observations from astronomers using the Hubble Space Telescope have captured a black hole actively consuming a star, tearing it apart and producing a significant burst of radiation. This radiation burst, known as a tidal disruption event (TDE), enabled researchers to locate the black hole. The TDE identified as AT2024tvd was remarkable for a particularly uncommon reason: while most supermassive black holes are usually found at the very center of a galaxy, this one is a nomadic rogue. "The typical location for massive black holes within a galaxy is at the center, similar to our Sag A* at the heart of the Milky Way,” said lead researcher Yuhan Yao from UC Berkeley. "That's where scientists usually look for tidal disruption events. However, this one is not at the center; it’s approximately 2,600 light years away. It is the first optically discovered off-nuclear TDE." A six-panel illustration showcases a tidal disruption event around a supermassive black hole. NASA, ESA, STScI, Ralf Crawford (STScI) In addition to Hubble, researchers utilized other instruments like NASA’s Chandra X-Ray Observatory and the NRAO Very Large Array telescope to study the TDE — as depicted above. The black hole starts as a dark and elusive object, but when a star approaches too closely, it is gravitationally captured and elongated, or more technically, “spaghettified” into an extreme form. This process results in a disk-shaped cloud of material encircling the black hole, and this material rapidly spirals into the black hole, generating a flash of radiation across X-ray to radio wavelengths that can be detected from Earth, revealing that the black hole is not centrally located in the galaxy as anticipated. In fact, this galaxy contains not just one supermassive black hole, but two: one at the galactic center and the other as a wandering entity. It is believed that this situation arises when two smaller galaxies collide and merge to create a larger galaxy. “Massive black holes typically reside at the centers of galaxies, but we know that galaxies undergo mergers — that is how they grow. When two galaxies combine to become one, multiple black holes emerge,” explained co-author Ryan Chornock, also from UC Berkeley. “What happens next? We anticipate that they will eventually coalesce, but theorists have predicted a population of black holes that roam within galaxies.” The researchers suggest that the two supermassive black holes in this galaxy could potentially merge in the future, a monumental event that would generate gravitational waves capable of being detected from Earth. This research is set to be published in The Astrophysical Journal Letters. Georgina has been writing about space for Digital Trends for six years, covering topics related to human space exploration and planetary… Amazing image reveals the magnetic fields of our galaxy’s supermassive black hole The Event Horizon Telescope collaboration, known for capturing the historic first image of a black hole, has produced another stunning black hole image. This one illustrates the magnetic fields swirling around the supermassive black hole located at the center of our galaxy, Sagittarius A*. Black holes are difficult to photograph because they engulf anything that strays too close, including light, due to their immensely strong gravitational pull. However, this does not render them invisible. While the black hole itself cannot be seen, the material circling around the edges of the event horizon glows brightly enough to be captured on camera. This new image utilizes a property of light known as polarization to unveil the powerful magnetic fields surrounding the massive black hole. Read more Hubble captures the striking jets of a newborn star A recent image from the Hubble Space Telescope showcases the incredible events occurring as a new star comes into existence. Within a swirling cloud of dust and gas, a newly formed star is emitting powerful jets, ejecting material and cutting through the dust of the surrounding nebula to create this breathtaking scene. The image depicts a system referred to as FS Tau, situated 450 light-years away within a region known as Taurus-Auriga. This area hosts many stellar nurseries where new stars are forming, making it a popular target for astronomers examining star formation. However, this particular system is distinguished by the dramatic characteristics of its newborn star, which has developed an impressive structure known as a Herbig-Haro object. Read more Casey Chong examines eight notable cult sci-fi films from 1985... The year 1985 was significant for the iconic sci-fi film Back to the Future, which grossed over $210 million in the U.S. alone. Directed by Robert Zemeckis, this time-travel classic remains a beloved cinematic landmark. Alongside it, several other sci-fi movies were released, some achieving success like Cocoon, while others, such as Enemy Mine and Explorers, were largely overlooked by audiences at the time. Below, we present our selections of the essential sci-fi films from 1985 beyond Back to the Future... Re-Animator Not for the faint of heart, Stuart Gordon fully embraces Lovecraftian horror with sci-fi elements in Re-Animator. The film features Jeffrey Combs in his memorable and eccentric role as Herbert West, a deranged medical student obsessed with resurrecting the dead using his experimental serum. Gordon’s direction captures the essence of a B-movie spirit, merging sci-fi horror with dark comedy. The film is exceptionally bloody and gory, showcasing impressive practical effects and maintaining a brisk pace without unnecessary distractions. The cult success of Re-Animator led to two sequels, Bride of Re-Animator and Beyond Re-Animator. Brazil Terry Gilliam’s often-misunderstood sci-fi masterpiece failed to draw large audiences upon its release but has since been recognized as a classic. Gilliam, who co-wrote the screenplay, presents a unique vision of a dystopian future rife with bureaucratic absurdities, focused on a low-level government employee, played by the empathetic Jonathan Pryce, as he navigates a landscape of daydreams and mundane reality. Beyond Gilliam’s stunning visuals and quirky humor, the film offers profound narrative depth, drawing on Orwellian themes of totalitarianism and oppression. Although its nearly 2 ½ hour runtime might deter some viewers, Gilliam’s intricate direction offers a distinctive cinematic experience worth witnessing. Enemy Mine Wolfgang Petersen, known for genre-defining works like Das Boot and Air Force One, directed the sadly underrated Enemy Mine, which came a year after the success of The NeverEnding Story. The film faced numerous behind-the-scenes challenges, including the firing of original director Richard Loncraine, who had already filmed some scenes. Rather than using Loncraine's footage, Petersen opted to start anew. Unfortunately, despite his efforts, Enemy Mine struggled at the box office, yet it deserves recognition for its effective exploration of themes such as harmony, unity, and empathy, adapted from Barry B. Longyear’s novella by Edward Khmara. Primarily centering on the conflict between human pilot Willis Davidge (Dennis Quaid) and a reptilian being named Jeriba Shigan (Louis Gossett Jr., in full prosthetic makeup), the film thrives on the chemistry between the two leads, elevating it beyond a simple survival story. The Quiet Earth This film from New Zealand presents a haunting “what if” scenario in which a global disaster nearly wipes out all humanity. Directed by Geoff Murphy, who later took on Hollywood projects like Young Guns II, The Quiet Earth opens with a captivating scene where a man (Bruno Lawrence) wakes up to find himself utterly alone in a city. The first 35 minutes focus on Lawrence’s character, Zac Hobson, as he copes with solitude, even resorting to donning a dress for entertainment. His performance is exceptional, capturing a blend of isolation, frustration, and odd joy. The narrative later introduces two additional characters: a young woman named Joanne (Alison Routledge) and a Maori man named Api (Pete Smith). Adapted from Craig Harrison’s novel, the film explores themes of human instinct, trust, and racial tension leading to a surreal and ambiguous conclusion. Cocoon Surprisingly, Robert Zemeckis was originally slated to direct Cocoon, but after Fox executives' negative reactions to an early cut of Romancing the Stone, Ron Howard took over. Howard’s deliberate direction proved perfect for Tom Benedek’s screenplay about seniors at a retirement home who discover a swimming pool with giant cocoons that rejuvenate them. The film thoughtfully examines aging and the rediscovery of youth through the experiences of its elderly characters, portrayed by Don Ameche, Wilford Brimley, and Hume Cronyn. Rather than merely invoking nostalgia, Howard elicits strong performances from this older cast. While the special effects, especially the glowing alien beings, may seem dated today, the film’s charm and positive portrayal of the creatures are undeniable. Cocoon became a significant hit that year, followed by a less successful sequel, Cocoon: The Return, released three years later. The Stuff The film's title refers to a mysterious, sweet, and addictive white goo, reminiscent of shaving cream. This substance quickly becomes a national obsession, capturing America’s attention. Writer-director Larry Cohen fully embraces the absurdity Casey Chong examines eight notable cult sci-fi films from 1985... The year 1985 was significant for the iconic sci-fi film Back to the Future, which grossed over $210 million in the U.S. alone. Directed by Robert Zemeckis, this time-travel classic remains a beloved cinematic landmark. Alongside it, several other sci-fi movies were released, some achieving success like Cocoon, while others, such as Enemy Mine and Explorers, were largely overlooked by audiences at the time. Below, we present our selections of the essential sci-fi films from 1985 beyond Back to the Future... Re-Animator Not for the faint of heart, Stuart Gordon fully embraces Lovecraftian horror with sci-fi elements in Re-Animator. The film features Jeffrey Combs in his memorable and eccentric role as Herbert West, a deranged medical student obsessed with resurrecting the dead using his experimental serum. Gordon’s direction captures the essence of a B-movie spirit, merging sci-fi horror with dark comedy. The film is exceptionally bloody and gory, showcasing impressive practical effects and maintaining a brisk pace without unnecessary distractions. The cult success of Re-Animator led to two sequels, Bride of Re-Animator and Beyond Re-Animator. Brazil Terry Gilliam’s often-misunderstood sci-fi masterpiece failed to draw large audiences upon its release but has since been recognized as a classic. Gilliam, who co-wrote the screenplay, presents a unique vision of a dystopian future rife with bureaucratic absurdities, focused on a low-level government employee, played by the empathetic Jonathan Pryce, as he navigates a landscape of daydreams and mundane reality. Beyond Gilliam’s stunning visuals and quirky humor, the film offers profound narrative depth, drawing on Orwellian themes of totalitarianism and oppression. Although its nearly 2 ½ hour runtime might deter some viewers, Gilliam’s intricate direction offers a distinctive cinematic experience worth witnessing. Enemy Mine Wolfgang Petersen, known for genre-defining works like Das Boot and Air Force One, directed the sadly underrated Enemy Mine, which came a year after the success of The NeverEnding Story. The film faced numerous behind-the-scenes challenges, including the firing of original director Richard Loncraine, who had already filmed some scenes. Rather than using Loncraine's footage, Petersen opted to start anew. Unfortunately, despite his efforts, Enemy Mine struggled at the box office, yet it deserves recognition for its effective exploration of themes such as harmony, unity, and empathy, adapted from Barry B. Longyear’s novella by Edward Khmara. Primarily centering on the conflict between human pilot Willis Davidge (Dennis Quaid) and a reptilian being named Jeriba Shigan (Louis Gossett Jr., in full prosthetic makeup), the film thrives on the chemistry between the two leads, elevating it beyond a simple survival story. The Quiet Earth This film from New Zealand presents a haunting “what if” scenario in which a global disaster nearly wipes out all humanity. Directed by Geoff Murphy, who later took on Hollywood projects like Young Guns II, The Quiet Earth opens with a captivating scene where a man (Bruno Lawrence) wakes up to find himself utterly alone in a city. The first 35 minutes focus on Lawrence’s character, Zac Hobson, as he copes with solitude, even resorting to donning a dress for entertainment. His performance is exceptional, capturing a blend of isolation, frustration, and odd joy. The narrative later introduces two additional characters: a young woman named Joanne (Alison Routledge) and a Maori man named Api (Pete Smith). Adapted from Craig Harrison’s novel, the film explores themes of human instinct, trust, and racial tension leading to a surreal and ambiguous conclusion. Cocoon Surprisingly, Robert Zemeckis was originally slated to direct Cocoon, but after Fox executives' negative reactions to an early cut of Romancing the Stone, Ron Howard took over. Howard’s deliberate direction proved perfect for Tom Benedek’s screenplay about seniors at a retirement home who discover a swimming pool with giant cocoons that rejuvenate them. The film thoughtfully examines aging and the rediscovery of youth through the experiences of its elderly characters, portrayed by Don Ameche, Wilford Brimley, and Hume Cronyn. Rather than merely invoking nostalgia, Howard elicits strong performances from this older cast. While the special effects, especially the glowing alien beings, may seem dated today, the film’s charm and positive portrayal of the creatures are undeniable. Cocoon became a significant hit that year, followed by a less successful sequel, Cocoon: The Return, released three years later. The Stuff The film's title refers to a mysterious, sweet, and addictive white goo, reminiscent of shaving cream. This substance quickly becomes a national obsession, capturing America’s attention. Writer-director Larry Cohen fully embraces the absurdity Casey Chong examines eight notable cult sci-fi films from 1985... The year 1985 was significant for the iconic sci-fi film Back to the Future, which grossed over $210 million in the U.S. alone. Directed by Robert Zemeckis, this time-travel classic remains a beloved cinematic landmark. Alongside it, several other sci-fi movies were released, some achieving success like Cocoon, while others, such as Enemy Mine and Explorers, were largely overlooked by audiences at the time. Below, we present our selections of the essential sci-fi films from 1985 beyond Back to the Future... Re-Animator Not for the faint of heart, Stuart Gordon fully embraces Lovecraftian horror with sci-fi elements in Re-Animator. The film features Jeffrey Combs in his memorable and eccentric role as Herbert West, a deranged medical student obsessed with resurrecting the dead using his experimental serum. Gordon’s direction captures the essence of a B-movie spirit, merging sci-fi horror with dark comedy. The film is exceptionally bloody and gory, showcasing impressive practical effects and maintaining a brisk pace without unnecessary distractions. The cult success of Re-Animator led to two sequels, Bride of Re-Animator and Beyond Re-Animator. Brazil Terry Gilliam’s often-misunderstood sci-fi masterpiece failed to draw large audiences upon its release but has since been recognized as a classic. Gilliam, who co-wrote the screenplay, presents a unique vision of a dystopian future rife with bureaucratic absurdities, focused on a low-level government employee, played by the empathetic Jonathan Pryce, as he navigates a landscape of daydreams and mundane reality. Beyond Gilliam’s stunning visuals and quirky humor, the film offers profound narrative depth, drawing on Orwellian themes of totalitarianism and oppression. Although its nearly 2 ½ hour runtime might deter some viewers, Gilliam’s intricate direction offers a distinctive cinematic experience worth witnessing. Enemy Mine Wolfgang Petersen, known for genre-defining works like Das Boot and Air Force One, directed the sadly underrated Enemy Mine, which came a year after the success of The NeverEnding Story. The film faced numerous behind-the-scenes challenges, including the firing of original director Richard Loncraine, who had already filmed some scenes. Rather than using Loncraine's footage, Petersen opted to start anew. Unfortunately, despite his efforts, Enemy Mine struggled at the box office, yet it deserves recognition for its effective exploration of themes such as harmony, unity, and empathy, adapted from Barry B. Longyear’s novella by Edward Khmara. Primarily centering on the conflict between human pilot Willis Davidge (Dennis Quaid) and a reptilian being named Jeriba Shigan (Louis Gossett Jr., in full prosthetic makeup), the film thrives on the chemistry between the two leads, elevating it beyond a simple survival story. The Quiet Earth This film from New Zealand presents a haunting “what if” scenario in which a global disaster nearly wipes out all humanity. Directed by Geoff Murphy, who later took on Hollywood projects like Young Guns II, The Quiet Earth opens with a captivating scene where a man (Bruno Lawrence) wakes up to find himself utterly alone in a city. The first 35 minutes focus on Lawrence’s character, Zac Hobson, as he copes with solitude, even resorting to donning a dress for entertainment. His performance is exceptional, capturing a blend of isolation, frustration, and odd joy. The narrative later introduces two additional characters: a young woman named Joanne (Alison Routledge) and a Maori man named Api (Pete Smith). Adapted from Craig Harrison’s novel, the film explores themes of human instinct, trust, and racial tension leading to a surreal and ambiguous conclusion. Cocoon Surprisingly, Robert Zemeckis was originally slated to direct Cocoon, but after Fox executives' negative reactions to an early cut of Romancing the Stone, Ron Howard took over. Howard’s deliberate direction proved perfect for Tom Benedek’s screenplay about seniors at a retirement home who discover a swimming pool with giant cocoons that rejuvenate them. The film thoughtfully examines aging and the rediscovery of youth through the experiences of its elderly characters, portrayed by Don Ameche, Wilford Brimley, and Hume Cronyn. Rather than merely invoking nostalgia, Howard elicits strong performances from this older cast. While the special effects, especially the glowing alien beings, may seem dated today, the film’s charm and positive portrayal of the creatures are undeniable. Cocoon became a significant hit that year, followed by a less successful sequel, Cocoon: The Return, released three years later. The Stuff The film's title refers to a mysterious, sweet, and addictive white goo, reminiscent of shaving cream. This substance quickly becomes a national obsession, capturing America’s attention. Writer-director Larry Cohen fully embraces the absurdity The Surfer (2025) - Film Review The Surfer (2025) - Film Review The Surfer, 2025. Directed by Lorcan Finnegan. Featuring Nicolas Cage, Julian McMahon, Justin Rosniak, Alexander Bertrand, Rahel Romahn, Nicholas Cassim, Finn Little, Charlotte Maggi, Nina Young, James Bingham, Miranda Tapsell, Radek Jonak, Rory O’Keeffe, Talon Hopper, Sally Clune, Gautier de Fontaine, Jake Fryer-Hornsby, Adam Leeuwenhart, Dean McAskil, Tobiasz Rodney, Adam Sollis, Oliver Webb, Daniel Williamson, […] The Ugly Stepsister (2024) - Film Review The Ugly Stepsister (2024) - Film Review The Ugly Stepsister, 2025. Written and directed by Emilie Blichfeldt. Featuring Lea Myren, Thea Sofie Loch Næss, Ane Dahl Torp, Flo Fagerli, Isac Calmroth, Malte Gårdinger, Ralph Carlsson, Isac Aspberg, Albin Weidenbladh, Oksana Czerkasyna, Katarzyna Herman, Adam Lundgren, Willy Ramnek Petri, Cecilia Forss, Kyrre Hellum, Richard Forsgren, Agnieszka Żulewska, Philip Lenkowsky, and Staffan Kolhammar. SYNOPSIS: […]

Nora Director Anna Campbell Discusses Transforming the Contemporary Musical

Anna Campbell is an actress, producer, and director originally from Portland, Oregon. Following her graduation with honors from Vassar College, she pursued a career as an actress, where