FATHER MOTHER SISTER BROTHER: An Anthology of Estrangement

FATHER MOTHER SISTER BROTHER (Blu-ray)

2025 / 111 min

MUBI

Review by Stinky the Destroyer😼

As I write this, I keep wanting to type MOTHER Father Sister Brother because it’s something I’ve often shouted-out when public decorum prevented me from using an expletive that also starts with ‘mother.’ Perhaps some of you have, too. As for writer-director Jim Jarmusch, maybe his title is an intentional play on the phrase, maybe not. For all I know, it simply signifies the film’s individual chapters. 

After all, Jarmusch can be one ambiguous motherfathersisterbrother at times.

How much one gets out of Father Mother Sister Brother largely depends on one’s appreciation for the director’s style and sensibilities. This is an anthology film comprising three stories, all of which center around reunions of estranged family members. “Father” has siblings (Adam Driver & Mayin Bialik) visiting their reclusive dad (Tom Waits), who initially appears to be in mental decline. In “Mother,” two sisters (Cate Blanchett & Vicky Krieps) make their annual visit to their mother (Charlotte Rampling), a famous author. Finally, “Sister Brother” features a brother and sister returning home following their parents’ deaths.

"I've highlighted all the naughty bits for you."

The film is loaded with the kind of superfluous small talk people engage in to avoid uncomfortable silences, and we get the impression everyone’s trying really hard to get along with those they love…but may not actually like. Aside from the ongoing theme of estrangement, these stories are tenuously connected through recurring imagery (skateboarders, watches, similarly colored clothing, etc) and dialogue (variations of “Bob’s your uncle”). What any of it symbolizes is largely left to the viewer to figure out, which is typical Jarmusch. For some, this’ll feel like a whole lot of nothing going on.

On the other hand, some of this will resonate with anyone who’s experienced similarly strained familial relationships. If nothing else, these characters feel real, largely due to their deceptively mundane conversations and, more significantly, outstanding performances by the entire cast. If forced to choose who stands out the most, I’d choose Driver, who masterfully depicts his character’s internal conflict with a minimum of actual dialogue. 

Overall, Father Mother Sister Brother (dammit, I still accidentally typed ‘mother’ first) is watchable, but not as profound as Jarmusch (and his admirers) might think it is. He accurately and admirably serves up examples of family estrangement, but doesn’t really have anything substantial to say about it.

THE MASTERMIND: A Different Kind of Heist Film

THE MASTERMIND (Blu-ray)

2025 / 110 min

MUBI

Review by Mr. Bonnie, the Burglar😸

You know what’s worse than losing everything? When it’s all your fault you’ve lost everything, and everyone who used to bail you out (family and friends) has finally bailed on you. Worse still , you remain oblivious to the enormity of the problems you’ve created for yourself. That’s JB (Josh O’Connor) in a nutshell.

Maybe part of the reason The Mastermind resonated with me was because, in some ways, I was once kind-of like JB before finally pulling my head out of my butt and growing up a little. But at least I didn’t resort to robbery.

Set during 1970, JB is the mastermind of the title, an unemployed designer with a wife, Terri (Alana Haim), and two sons. Not only is he an irresponsible father, we immediately get the impression Terri, who works to support them, isn't all that happy with him. As the film opens, he plans a museum heist of four valuable paintings, enlisting a few local thieves to carry-out the robbery…and borrowing money from his exasperated mother in order to pay them (though he tells her it's for a job he’s been hired for).

JB is so confident in his “meticulous” plan that it doesn’t occur to him that anything could go wrong. In reality, it’s a pretty foolish idea not too far removed from a smash & grab, and it’s quite clear he didn’t really think things through (an amusing observation later made by a couple of other characters). Things go as planned until one of his accomplices is caught and fingers JB as the mastermind behind the crime. Soon, the FBI is looking for him. To make matters worse, local mobsters find JB and force him to give them the stolen paintings.

JB traded the paintings for that sandwich. But in his defense, it was a really good sandwich.

Leaving his family behind, JB goes on the run with no real plan other than visiting old friends in hopes that they’ll help him. What’s fascinating (at least to me) is that at no time does JB appear aware of the gravity of his situation. He’s thrown his entire life away, and as we watch his downward spiral, he expresses no remorse over the people he’s affected. Even during a phone call to Terri, he offers a half-hearted apology before asking her to wire him money. Everything culminates in a conclusion that’s both ironic and bleakly amusing.

Though obstinately a heist film, The Mastermind is no Rififi. In a way, it’s kind of an anti-Rififi with an overly-confident slacker who isn’t nearly as brilliant as he thinks he is (and his cohorts are even dumber). We don’t sympathize with JB, either. After all, the guy just took a massive crap in his own nest and some viewers might find perverse pleasure in watching his life fall apart. Whatever we think of him, JB is a brilliantly conceived character and played with an effectively low-key performance by O’Connor. Because I saw a bit of the old me in him, I was simultaneously engaged and uncomfortable. 

Some might be put-off by the film’s tone and glacial pace. The Mastermind is definitely a slow burn, its narrative growing increasingly episodic, with scenes that seem pretty meandering if taken at face value. But there’s actually a lot going on in those scenes, even the ones without dialogue, all of which shape JB’s character and other people’s feelings about him. Afterwards, I briefly wondered what the hell I just watched, but as someone who’s seen more heist films than the Surgeon General recommends, it was refreshing to see the genre turned on its ear. 

EXTRA KIBBLES

THE MASTERMIND: UNWINDING THE HEIST FILM is an interesting analytical video essay.

The Repetition of DIE MY LOVE

DIE MY LOVE (4K + Blu-ray)

2025 / 119 min

MUBI 

Review by Stinky the Destroyer😾

Let’s accentuate the positive first. The performances in Die My Love are outstanding. As far as Jennifer Lawrence is concerned, it might even be the best of her career, certainly deserving of the Golden Globe she was nominated for. She approaches the role of Grace with a level of fearlessness and bravery that’s truly compelling (sometimes morbidly so). Co-star Robert Pattinson, as Grace’s beleaguered boyfriend/husband Jackson, further distances himself from the old Twilight days. He successfully avoids being overshadowed by Lawrence in a role that, depending on how one views the film, is either a protagonist or an antagonist. 

At no time do we feel like we’re watching actors, but a really troubled couple whose lives are unraveling due to Grace’s severe postpartum depression (and no small amount of Jackson’s perceived lack of emotional support). Elsewhere, director/co-writer Lynne Ramsey makes a lot of aesthetically interesting choices that enhance the film’s surreal, sometimes hallucinatory moments, bolstered by excellent cinematography by Seamus McGarvey.

However, I can’t eliminate the negative. Despite those stellar performances and themes worth exploring, Die My Love is a challenge to endure. Not because it’s very deliberately paced and depressing. Given her reputation, I wasn’t expecting sunshine and lollipops from Ramsey, anyway. But while Lawrence and Pattinson are all-in, their characters are static and simplistically conceived. Aside from an opening scene where they engage in an uninhibited bout of floor sex (presumably conceiving the child that’s the catalyst for what follows), Grace and Lawrence are defined by verbal and physical conflict. 

A Montana honeymoon. 

In fact, neither of them come across as all that likable or sympathetic. Grace, in particular, grows increasingly vindictive and unhinged, some of her actions bordering on unforgivable. But here’s the biggest problem…Die My Love soon becomes phenomenally repetitive. Not to disparage the impact of postpartum depression on women and families, but as depicted here, the repeated pattern of crises and reconciliation gets rather predictable and boring after a while, despite efforts to jazz things up visually. Along the way, there are no character epiphanies, no meaningful explorations into the nature of this disorder and certainly nothing resembling levity (though I suppose some of this could be seen as black comedy). 

Still, some viewers might appreciate the film’s frankness, surreal elements and no-small-amount of sensationalism. If nothing else, the great cast (including Sissy Spacek & Nick Nolte) makes it difficult to dismiss Die My Love entirely. However, two hours is an interminable amount of time to spend with characters who are exactly the same at the film’s conclusion as they were at the beginning.

THE HISTORY OF SOUND: Slow, But Not Without Its Rewards

THE HISTORY OF SOUND (Blu-ray)

2025 / 128 min

MUBI

Review by Stinky the Destroyer😽

On one hand, The History of Sound was a pleasant surprise. Here’s a film with two main characters whose brief romantic relationship is the crux of the narrative. However, the fact that it’s a gay relationship has no actual impact on the plot. You could swap out David or Lionel for a Debbie or a Linda without changing a single scene or line of dialogue. We need more movies like that.

Granted, I haven’t seen a ton of gay-themed films, so maybe I’m behind the times. But most of the ones I have seen are either tragedies or deliberately provocative (or both), where the characters’ sexuality is central to the story. So if nothing else, this film eschews such cliches with protagonists who just happen to be gay.

On the other hand, The History of Sound is kind of meandering and too deliberately paced for its own good. I wouldn’t go so far as to call it boring, but despite a decent story, worthy themes and excellent performances, there were moments when I thought a bit of external conflict would liven things up a bit. Music students Lionel (Paul Mescal) and David (Josh O’Connor) have sort of a meet-cute in a local tavern, where they discover a mutual love of folk songs. This is followed by a brief romance before David is drafted to fight in World War I.

"No, seriously...your feet really stink."

Lionel returns to his family farm in Kentucky, where he stays for a couple of years and helps his parents, but he’s no longer happy. When David returns, he gets a position at a college in Maine, then invites Lionel to travel the region recording folk songs performed by locals. The two briefly rekindle their relationship until David returns to the college and Lionel heads to Europe. Though Lionel continuously writes to David, he never gets a response. Years pass, and during that time, Lionel becomes a respected singer and conductor, moving from Rome to Oxford, and even having a relationship with a young woman. 

However, he’s not satisfied with his life, so when he learns his mother is dying, Lionel returns home and doesn’t come back. Without ever saying so, it’s obvious why he hasn’t felt complete or happy all these years, despite being very successful. The viewer won’t need a slide-rule to figure any of this out, either. We’re just waiting for the inevitable to unfold. While there’s nothing necessarily wrong with that, director Oliver Hermanus draws things out longer than he needs to, compounded by a main character who might be a little too self-absorbed to be totally invested in. Sure, we kinda like Lionel, but he often seems indifferent to the impact his actions have on others.

Still, these characters feel real, as does the episodic nature of the story and the film’s overall aesthetic. One might even mistake it for a true story, which is a credit to everyone involved on both sides of the camera. The History of Sound is a little too subdued and slow to justify its length, but it does reward the viewer’s patience with a bittersweet conclusion.

LURKER: You Don't Need a Friend Like Matthew

LURKER (Blu-ray)

2025 / 100 min

MUBI

Review by Princess Pepper😺

Sometimes it pays to stick with a movie, even if you’re tempted to shut it off because it doesn’t seem to be going anywhere. That’s how I felt about Lurker. Not only was the first act meandering, the two main characters weren’t anyone I felt prepared to spend 100 minutes with. And even as the plot began to develop, I assumed this was gonna be yet another “thriller” about a crazed fan and the pitfalls of fame.

To a certain extent, Lurker is indeed about a crazed fan. Matthew (Theodore Pellerin) is a seemingly laconic clothing store employee who’s unexpectedly befriended by rising pop star Oliver (Archie Madekwe). He’s invited to a show, and soon afterwards, becomes part of Oliver’s entourage…first as kind of a gopher, but later asserting himself as a documentarian, even making creative suggestions regarding Oliver’s music videos. In the process, Matthew becomes something of a social media celebrity himself.

However, when Matthew’s co-worker, Jamie (Sunny Suljic), is also embraced by Oliver and his crew, he grows increasingly jealous and resentful. Then following an incident in which Matthew intentionally injures Jamie during a video shoot, he’s ostracized and abandoned. Here’s where Lurker takes an unexpected narrative turn. Matthew’s continued obsession with Oliver doesn’t lead to violent revenge. Not only is he desperate to cling to his new-found fame, he still considers Oliver a friend. So instead, he blackmails Oliver into letting him continue making the documentary, at which time Matthew takes it upon himself to make most of the artist’s decisions.

Matthew shares his collection of cat videos.

Matthew is generally an off-putting character to begin with, but as he comes out of his shell (so to speak), he grows increasingly unnerving, in both his words and actions. Hence, Lurker turns into an uncomfortable viewing experience. We become appalled by the situation - especially Matthew’s sudden arrogance - but like witnessing a terrible car accident, it’s difficult to look away. The narrative surprises don’t end there, either…Lurker concludes on an ambiguous note that might be a little maddening, but is effective nonetheless. 

Lurker ends up being morbidly fascinating, with a main character whose behavior drives the unpredictable story into dark places. It isn’t unnecessarily a “fun” film, but like the recent black comedy, Friendship, we feel compelled to see it through. Once is probably enough for me, though. I don’t think I’d want to spend more time with Matthew than I already have.

THE POOP SCOOP: More New Years Kibbles

😺GLADIATOR II debuts on Digital December 24th and on 4K Ultra HD & Blu-ray March 4, 2025 from Paramount

Director Ridley Scott’s action-packed epic GLADIATOR II continues to thrill audiences around the world, having already earned over $416 million at the global box office.  Fans will be able to relive the astonishing spectacle at home—along with a wealth of behind-the-scenes bonus content—when it arrives to purchase on Digital December 24, 2024, followed by a physical release on March 4, from Paramount Home Entertainment. Fans who purchase the film on Digital* or 4K Ultra HD will have access to over 100 minutes of fascinating behind-the-scenes footage and interviews.  Discover the epic journey of the highly anticipated film as the cast and filmmakers share their personal experiences.  Explore some of the exotic filming locations, including Malta and Morocco, and see the extraordinary sets that brought the Roman Empire back to life.  Plus, enter the arena to find out how carefully choreographed combat and visual effects combined to deliver mind-blowing battles on a truly epic scale.

😺THE SUBSTANCE on 4K, Blu-ray and DVD on January 21, 2025 from Mubi.

Have you ever dreamt of a better version of yourself? You've got to try this new product: The Substance. IT CHANGED MY LIFE. One of 2024’s biggest - and ickiest - sleeper hits is coming to 4K, Blu-ray and DVD in January. Written & directed by Coralie Fareat and starring Demi Moore, Margaret Qualley, & Dennis Quaid, The Substance is a satiric body horror film about a fading actress who’s willing to go to extreme lengths to regain her youthful beauty, which involves using an experimental new drug. However, the side effects are dire…and must be seen to be believed. The Substance currently has 88% Rotten Tomatoes score and is certain to become a body horror classic.

😺CONSTANTINE on 4K UHD February 18, 2025 from Warner Bros Discovery.

Celebrating the 20th anniversary of the fan-favorite superhero thriller Constantine, the 2005 film will be available for purchase Digitally in 4K Ultra HD and on 4K UHD Blu-ray Disc on February 18. Featuring an all-star cast led by Keanu Reeves, the film marks the directorial debut of Francis Lawrence.  The newly remastered film will also include new bonus content featuring Keanu Reeves and Francis Lawrence reflecting on the making of the film 20 years later. Based on the DC Comics/Vertigo “Hellblazer” graphic novels and written by Kevin Brodbin and Frank Cappello, Constantine tells the story of John Constantine (Keanu Reeves), a man who has literally been to hell and back.  When he teams up with skeptical policewoman Angela Dodson (Rachel Weisz) to solve the mysterious suicide of her twin sister, their investigation takes them through the world of demons and angels that exists just beneath the landscape of contemporary Los Angeles.  Caught in a catastrophic series of otherworldly events, the two become inextricably involved and seek to find their own peace at whatever cost.

😺MY NAME IS ALFRED HITCHCOCK on Blu-ray & DVD January 14th, 2025 from Cohen Media Group.

A century after Alfred Hitchcock’s first film, he remains one of the most influential filmmakers in the history of cinema. But how does his vast body of work and legacy hold up in today’s society? Mark Cousins, the award-winning filmmaker behind The Story of Film: An Odyssey, The Eyes of Orson Welles, and The Storms of Jeremy Thomas, tackles this question and looks at the auteur with a new and radical approach: through the use of his own voice. As Hitchcock rewatches his films, we are taken on an odyssey through his vast career - his vivid silent films, the legendary films of the 1950s and 60s and his later works - in playful and revealing ways.

😺THE LORD OF THE RINGS: THE WAR OF THE ROHIRRIM on Digital December 27 from Warner Bros Discovery.

New Line Cinema’s original anime feature “The Lord of the Rings: The War of the Rohirrim,” which returns audiences to the epic world brought to life in “The Lord of the Rings” Trilogy, based on the revered books by J.R.R. Tolkien, debuts Digitally at home on December 27. “The Lord of the Rings: The War of the Rohirrim” continues the legendary “The Lord of the Rings” film franchise that debuted 23 years ago. Set 183 years before the events chronicled in the original trilogy of films, “The Lord of the Rings: The War of the Rohirrim” tells the saga of the legendary House of Helm Hammerhand, the King of Rohan. When a clever and ruthless Dunlending lord attacks seeking vengeance for the death of his father, Helm’s daughter Héra must summon the will to lead the resistance or face total destruction. 

😺MORE UPCOMING KIBBLES THAT MAKE US PURR: Se7en 4K (1/7/25); Inglourious Basterds 4K Limited Edition (1/14/25); Kill Bill 1 & 2 4K (1/21/25); Jackie Brown 4K (1/21/25); Smile 2 (1/21/25); The Cell Limited Edition (1/21/25); Dario Argento’s Opera (1/28/25); Juror #2 (2/4/25); The Shining 4K Steelbook (2/4/25); Dante’s Peak 4K (2/11/25); Conclave (2/11/25); Cronos 4K (2/25/25); Hard Truths (2/25/25)