Title: Tag

Director: Jeff Tomsic

Released: May 30, 2018 (Australia)

Runtime: 1 hour 40 minutes

Available to stream on: Prime Video

Odds are, when you were growing up, you played a game of tag with your friends. You might even still have a close relationship with those same friends. However, I doubt you’re playing tag with those friends thirty years later.

There is one exception. The friend group of Hoagie (Ed Helms), Callahan (Jon Hamm), Chilli (Jake Johnson), Sable (Hannibal Buress) and Jerry (Jeremy Renner) are still very much involved in a game of tag that has continued on since childhood.

But how in the world are they able to keep the game going as adults? It’s simple, the game is only active for one month out of the year. At the end of the month, whoever is ‘it’ carries that shame until the game restarts the next year.

Throughout the history of their game, only one of them has somehow managed to remain untagged. Jerry has a perfect streak and his friends are determined to see it come to an end. When they see his wedding announcement in the paper, which they weren’t invited to, they collectively decide that the streak dies at Jerry’s wedding.

With it basically being four against one, five when you include Hoagie’s ruthlessly competitive wife Anna (Isla Fisher), surely the odds are in the group’s favor…right?

The premise of Tag (2018) is absolutely absurd. However, learning it was loosely based on a true story piqued my curiosity enough to check it out.

There’s no misdirection from what you see in the trailer, it’s literally an hour and forty-minutes of friends playing a game of tag.

Luckily, the ensemble cast has incredible chemistry which allowed me to buy-in and go along with their adventures. The degree to which they bust chops feels as genuine as it would amongst a group of longterm friends.

Another highlight for me was the scenes of tag, or attempted tag, with Jerry. Time slows down and Jerry’s super abilities to evade his friends are on full display. He correctly predicts how each of his friends would approach him and is able to ward off their attempts to break his streak.

That being said, this movie should have been a tight eighty-minutes, or maybe even something similar to a recurring SNL digital short. While there are funny parts throughout, there isn’t enough meat on the bone to justify the runtime.

Unfortunately, for as much as I enjoyed parts of Tag (2018), I can’t say that I’d strongly recommend it.

However, if you’re looking for something to be able to turn on so you can turn off your brain, this is exactly what the doctor ordered.

So, have you seen Tag (2018)? If so, let me hear your thoughts on it!

You can leave a comment below or find me over on Bluesky.

As always, if you want to see what else I’ve been watching, you can follow me over on Letterboxd.

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Title: Miracle Mile

Director: Steve De Jarnatt

Released: May 19, 1988 (United States)

Runtime: 1 hour 28 minutes

Available to stream on: MGM+, Prime Video, and Pluto TV

Harry Washello (Anthony Edwards) is over the moon. It only took him 30 years, but he has finally found the girl of his dreams in Julie (Mare Winningham). After a day at the Tar Pits, Harry wants to see Julie again that night but she lets him know that she has to work. However, she gets off at midnight and Harry seems eager to see her so he agrees to meet her as soon as her shift ends outside the restaurant she works at.

To pass the time, Harry goes back to his hotel and decides to set an alarm and take a nap. As Harry’s luck would have it, the hotel experiences a power outage while he’s asleep. The power comes back and his alarm eventually goes off. He jumps out of bed and gets ready as he realizes that the TV says it’s nearly 4am.

Arriving at Julie’s work right at 4am, Harry asks if she’s still there. One of her co-workers obviously says no and that it’s way too late for him to try and call her. Ignoring the advice, Harry steps outside and into the phone booth to call Julie. To no one’s surprise, he gets her answering machine, so he leaves a message apologizing for being late and trying to explain what happened. As he turns to head back inside, the payphone rings and he answers hoping to hear Julie on the other end.

Unfortunately, it’s not Julie on the other end of the line. No, it’s someone by the name of Chip who is frantically explaining that nuclear war is going to break out in just over an hour. Harry eventually is able to get a word in edge wise and asks who Chip is and if this is a joke. Chip realizes he dialed the wrong number while trying to get ahold of his dad. He then tells Harry to apologize to his dad, we then hear gunfire on the other end of the line.

Harry slowly walks back into the restaurant and sits down at the counter, still trying to process what he just heard. When he tries to explain what it was he heard on the phone, the staff and patrons all look at Harry like he has three heads. Surely he is just another drunk rambling about some end times nonsense.

But what if Chip was right?

For the first maybe 15-minutes or so of Miracle Mile (1988) you think you’re about to settle in for a feel-good story about a dorky guy who finally finds the girl of his dreams. While that is technically what we get, it’s certainly not the love story I was expecting.

Once Harry gets off the phone with Chip, things take a sharp turn. Pivoting from love story to possible impending destruction of Earth is quite the bold swing for a movie that clocks in at just under 90-minutes. While I was onboard with the idea in theory, the finished product never quite came together in a cohesive way. Honestly, it’s a bit of a mess…but it’s a lovable mess.

In a cast full of “that guy/girl from that thing”, Anthony Edwards brings an endearing amount of heart to the role of Harry Washello. Despite the chaos unfolding around him, Harry’s determination to get to Julie reminds us that this started out as a romantic comedy.

If there is one major issue I have, it’s that the conversations that take place seem like an afterthought. Very rarely does the dialogue match the tone of the situation, let alone feel natural. There are also portions of the film that feel busy just for the sake of being busy.

That being said, other facets of De Jarnatt’s writing and direction are what makes Miracle Mile (1988) work for me. As the viewer, we’re just as much unsure of what’s really going on as Harry is. When the tension is escalating, for the most part it feels palpable and real.

Were it not for me seeking out the featured lists on Letterboxd, I’m not sure Miracle Mile (1988) would have ever been on my radar. However, I can say that I’m glad I watched it and would recommend everyone check it out at least once.

Have you seen Miracle Mile (1988)?

If so, leave a comment below or reach out to me on Bluesky and tell me what you thought of it!

Curious to see what else I’ve been watching?

Give me a follow over on Letterboxd where I leave quick thoughts on every movie I watch and log.

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Title: Skincare

Director: Austin Peters

Released: August 16, 2024 (United States)

Runtime: 1 hour 36 minutes

Available to stream on: Sundance Now

Hope Goldman (Elizabeth Banks) is a renowned aesthetician who runs her own successful studio in Los Angeles. She is on the verge of launching her own line of skincare products and has taped a segment with the local news to hype up the launch.

While at her studio one day, Hope learns that the empty business across the way from her is going to be occupied by another skincare studio. The owner of the new studio, Angel (Luis Gerardo Méndez), rubs Hope the wrong way from the jump when he astutely points out that she has parked in one of the spots designated for his studio.

When it comes time for Hope’s segment to air on local television…it never happens. Instead, what airs is a profile piece for Angel and his new studio. This leads to some of Hope’s clients starting to go to Angel’s studio rather than hers. As if all of that wasn’t enough to deal with, someone hacked Hope’s email account and sent out a very provocative email to all of her clients and contacts.

With the launch of her product line just days away, Hope is trying to just keep it together. Although, keeping it together while attempting to do damage control to save her image, keep her landlord off her back about rent, and figure out who is behind the smear campaign against her is proving to be quite the task.

I noticed Skincare (2024) was available to rent and it caught my eye both for the poster and it starring Elizabeth Banks. No matter what she pops up in, she always manages to understand the assignment and deliver. In this instance, I don’t think the film, as a whole, works as well if it’s anyone else playing Hope Goldman.

Usually when we see Elizabeth Banks in a role, she’s super upbeat and chipper. She manages to bring a sort of uplifting radiance to her performances. This gels perfectly with the character of Hope who is falling apart at the seams. Faced with losing it all and realizing that her life is/was indistinguishable from her work, Hope still is able to keep it together and present a face of someone who has the world in the palm of her hand. While Banks shines and elevates the entire film, Lewis Pullman, as Jordan, also delivers in a supporting role as an overeager life-coach.

The story itself is rather predictable. You’re able to pick up on where things are going pretty early on. However, despite a cheerful facade being put on to the rest of the world, the journey through the darkness that is the reality of the situation is what keeps you engaged throughout.

While I wouldn’t recommend dropping everything to rush out and see it, Skincare (2024) is most definitely deserving of at least one viewing.

Well, now it’s your turn. Have you seen Skincare (2024)?

If so, I want to hear your thoughts on it. You can leave a comment below or reach out to me on Bluesky!

As always, follow me on Letterboxd to keep up with everything else that I’ve been watching.

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Title: Deluge

Director: Felix E. Feist

Released: August 17, 1933 (United States)

Runtime: 1 hour 10 minutes

Watched via: Kanopy

Meteorologists in New York are stunned by an unprecedented event, a massive superstorm that is engulfing the entire world. They’re at a loss to explain its origins, and worse, they have no solutions for survival. There’s no escaping this storm, no fleeing to higher ground. Humanity has no choice but to face the destruction and hope to endure it.

As the storm crashes into New York City, it unleashes absolute destruction. The skyline crumbles and streets are flooded with ocean surge. When the chaos subsides, Claire (Peggy Shannon), relying on her strong swimming skills, survives and washes ashore where Jepson (Fred Kohler) and Norwood (Ralf Harolde) discover her amidst the wreckage. Their intentions quickly turn sinister as they argue over who “owns” her. Realizing the danger, Claire knows she must escape.

Fortunately, the logic of geography and distance seems to collapse in this post-apocalyptic world, or at least it does in Deluge (1933). Claire manages to swim to another beach that looks remarkably similar but lies just far enough away to leave Jepson and Norwood behind. There, she encounters Martin (Sidney Blackmer), a man who believes his wife and children perished in the storm. Whether that’s true remains uncertain, but Martin, convinced he’s alone, has no qualms about forming a close bond with Claire.

Vowing to survive together, can Claire and Martin endure the challenges of this new, broken world?

Or will its dangers prove too great?

Well, one thing is for certain with Deluge (1933)…if you think you know what you’re in for, you’re wrong.

Touted as one of the first disaster movies, in pre-Code Hollywood no less, it only manages to be what we consider today as a “disaster movie” for about the first 15 minutes or so. However, the use of miniatures to portray the destruction on an entire city, is rather impressive for the time. There are a few instances where they hold on a particular shot too long, but overall, I like to imagine that Roland Emmerich is a big fan of the first quarter of Deluge (1933).

However, once New York is destroyed and Claire washes ashore, thanks to her apparent Aquaman-like swimming abilities, there isn’t much “disaster” to be had. Rather, things shift to a sort of social drama for the remainder of the runtime. Now, that’s not to say that the rest of the film is disappointing. It just feels clumsy and disappointing coming off the heels of the opening sequences. There are a lot of things either mentioned briefly, hinted at, or implied that never go anywhere or serve the narrative in any impactful way.

Despite its flaws, Deluge (1933) manages to be an enjoyable enough of a watch. What helps this is the short runtime of just over an hour in length. Were it pushing the 80-90 minute mark, it would begin to teeter on the verge of being a painful watch to sit through.

If nothing else, this is worth watching solely for the destruction of New York City and the clever use of miniatures to portray it all and to see the humble beginnings of the disaster movie genre.

So, have you seen the once lost film that is Deluge (1933)? If so, I want to hear your thoughts on it!

You can leave a comment down below or reach out to me on Bluesky!

Curious to see what else I’ve been watching or want to take a peek at my ever-growing watchlist? Give me a follow over on Letterboxd!

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Title: Two Days, One Night

Directors: Jean-Pierre Dardenne and Luc Dardenne

Released: May 20, 2014 (France – Cannes Film Festival)

Runtime: 1 hour 35 minutes

Available to stream on: Kanopy and Mubi

Sandra (Marion Cotillard) has been out of work for some time while she recovers from an illness. One Friday, she is napping on the couch and has a tart in the oven. Sounds like a pretty good way to ease into a weekend, right? Well, sure, except for a phone call that is about to turn Sandra’s world upside down.

As her luck would have it, Sandra’s coworkers had a vote while she was out. Sandra either keeps her job, or each worker receives a bonus of 1,000 euros. She doesn’t even pretend to be shocked that her coworkers voted in favor of the bonus. Although, she is concerned to learn that one of her coworkers was going around telling people if they don’t vote for Sandra to lose her job, they could be let go instead.

Armed with this information, Sandra tracks down her boss and asks for a second vote to be held, this time as a secret ballot. To her surprise, he agrees to hold a second vote on Monday. Sandra now has 48 hours to try and convince her coworkers that letting her keep her job is more important than them receiving the bonus.

Talk about ending Mubi Monday with a bang.

Two Days, One Night (2014) may sound simple on the surface. But it is so much deeper than someone just trying to get her job back. The Dardenne brothers delicately draw you in and take you along for the ride. No, it’s not going to wow you with effects along the way. Rather, you get a front row seat to raw human struggle and emotion.

Marion Cotillard delivers a phenomenal performance as Sandra. All Sandra wants is to feel like she belongs in society again. At the same time, she understands how much a bonus of 1,000 euros would mean to each of her co-workers. Cotillard is able to put so much subtle emphasis into each movement, word, and reaction when interacting with her coworkers that it is near impossible for you, as the viewer, to not become emotionally invested in Sandra’s outcome. On top of it all, she is able to expertly portray the struggles of dealing with depression and attempting to find one’s worth in the world.

The film’s pacing deliberately slows down to give each conversation room to resonate. Rather than rushing through 16 different encounters with her coworkers, it allows us to fully experience and connect with each one. Yes, you can empathize with Sandra as she fights to try and save her job. But you’re also, just as easily, able to empathize with each coworker as you hear them explain how much of a difference this bonus would mean for them and their families.

In a landscape dominated by bloated budgets, special effects, and sequels, we all need to seek out more films that demand patience and push us to look inward.

If you’ve seen Two Days, One Night (2014), leave a comment below or reach out on Bluesky and let me know what you thought of it!

Want to keep up with everything else that I’ve been watching? Give me a follow over on Letterboxd!

Well, that’s a wrap on Mubi Monday! Did you have a favorite review of the year? If so, let me know.

See you in 2025 for a year of grab bag reviews!

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Title: The Player

Director: Robert Altman

Runtime: 2 hours 4 minutes

Released: April 3, 1992 (United States, Sweden, and Norway)

Available to stream on: MAX and The Criterion Channel

Griffin Mill (Tim Robbins) is a Hollywood studio exec who spends his days listening to countless pitches from screenwriters. He’s expected to sift through thousands of ideas each year, picking just a handful to turn into movies. While his job isn’t in immediate danger, his recent performance has his boss looking for alternatives. The solution? Well, Griffin is paired with Larry Levy (Peter Gallagher), an ambitious up-and-coming executive in his own right. However, Griffin and Larry could not be more different. Griffin believes in letting writers tell their stories, while Larry wants to ditch the writers altogether and rely on the studio’s resources.

If that wasn’t enough of a headache to deal with, Griffin also starts receiving strange postcards with death threats. He figures it’s from a writer he rejected, but with thousands of rejections under his belt, he can’t pin down who it might be.

With zero evidence to support his theory, Griffin zeroes in on David Kahane (Vincent D’Onofrio). He tracks down David’s girlfriend, June (Greta Scacchi), who tells him David is at the Rialto Theater in Pasadena. Griffin heads there, pretending to casually recognize David in the lobby. They go for drinks, and things quickly go south.

As they’re leaving the bar, the two men argue. David shoves Griffin, and Griffin falls. In a moment of rage, Griffin retaliates, “accidentally” drowning David in a shallow puddle. The next day, Griffin gets news from Walter (Fred Ward), the studio’s head of security, that the Pasadena police are all over the murder, and Griffin is their prime suspect.

Minutes after receiving news he’s now a murder suspect, he gets a fax from his stalker. Turns out David wasn’t the one sending the threats. Now Griffin has to deal with being a murder suspect, track down his real stalker, and try to stop Larry Levy from stealing his job…all while keeping the truth about what happened to David Kahane a secret that never sees the light of day.

Robert Altman’s filmography is one that I am not all that familiar with. Prior to The Player, the only film of his I’d seen was 1996’s Kansas City which I found to have a lot of potential but the parts never managed to come together. Well, I am now one-for-two with Altman films because he won me over here.

Altman is able to create organized chaos all throughout. People talking over each other, handshake deals being made while en route to other meetings, we are given a fly on the wall perspective of the hectic day in the life of a movie executive. Within all the chaos, Altman never hesitates to drop little jokes to poke fun of the very industry he’s a part of.

One of the biggest reasons this film works for me is the cast, starting with Tim Robbins. He plays Griffin Mill in a way that has you wanting to root for him while simultaneously despising him for his actions and behaviors. The ensemble cast steps up and also delivers in spades. From Gallagher to Lyle Lovett and Whoopi Goldberg as Pasadena police detectives, everyone excels in their role no matter how large or small it might be. Shoot even Burt Reynolds, Julia Roberts, and Bruce Willis get in on the fun, and I’m still leaving out a laundry list of recognizable names and faces.

The Player (1992) is a satiric look at the dirty underbelly of Hollywood. It doesn’t matter if you love your job in the industry, because it will chew you up and spit you out in pursuit of the next big thing. What is truly important is power, who has it, and how far they’re willing to go in order to keep it.

Luckily, the messaging never gets heavy-handed to the point of distracting you from the story. Whether you are a fan of the movie industry, have worked in it, or happen to have zero interest in it whatsoever and just enjoy a good thriller, there’s something here for you.

If you’ve yet to see The Player (1992), do yourself a favor and fix that.

Well, now I want to hear from you.

If you’ve seen The Player (1992), tell me what your thoughts on it are in the comments below or by reaching out to me on Bluesky!

As always, stay up to date with everything else that I’ve been watching over on my Letterboxd page.

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Title: As Long as Shotguns Remain

Directors: Jonathan Vinel and Caroline Poggi

Released: February 7, 2014 (Berlin International Film Festival)

Runtime: 30 minutes

Available to stream: Exclusively on Mubi

As Long as Shotguns Remain (2014) follows the story of Joshua (Lucas Doméjean), a young man who is repeatedly forced to confront difficult decisions involving a shotgun. The film opens with a haunting revelation…Joshua’s best friend committed suicide using a shotgun. This sets the tone for a narrative driven by grief, loss, and moral conflict.

However, the pacing, while clearly intentional, works against the film’s overall impact. Rather than building tension, it feels sluggish, leaving some inconsequential scenes to drag on unnecessarily. This makes it incredibly difficult to fully invest in Joshua’s journey.

Speaking of, Lucas Doméjean delivers a solid performance as Joshua, capturing the character’s quiet turmoil. We get a sense of Joshua’s pain, but we’re never given enough to allow us to fully understand him. This lack of character development prevented me from forming a real connection, and as a result, the emotional stakes held no real value. Doméjean does what he can with the material, but the performance, like much of the film, is ultimately forgettable.

While As Long as Shotguns Remain (2014) has a premise that is full of potential, it disappointingly under-delivers.

Well, now it’s your turn.

If you’ve seen As Long as Shotguns Remain (2014), leave a comment below or reach out to me on Bluesky and let me know what you thought of it.

As always, follow me over on Letterboxd to see everything else that I’ve been watching.

I’ll see you next Monday for the final Mubi Monday of the year!

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Title: Yuki’s Sun

Director: Hayao Miyazaki

Released: December 29, 1972 (Japan)

Runtime: 5 minutes

Available to stream: Exclusively on Mubi

Yuki is an orphan who decides to always try to see the bright side of things. She’s taken in by a family that loves and cares for her. The only “issue” with Yuki is that she has this nasty habit of hitting people when she’s happy.

Things are going well for Yuki, that is, until the father of her new family is taken into custody. At this point, Yuki decides she’s going to seek out her birth parents. She rides a wild horse, hitches a ride on a train, and shows us that she’ll do whatever it takes.

Going into Yuki’s Sun (1972), I saw the runtime and wasn’t sure if I’d be able to review something that is just 5 minutes long. And even now, I’m still not sure what all there is to say. The story itself is very simple. I am honestly not familiar enough with animation from the 1970s to weigh-in on how this compares. But I can say that you can very clearly see the groundwork for what would become Miyazaki’s signature style.

Seeing as this was originally to be a pilot episode for an unmade series, it’s a little difficult to try and view this as a standalone animated short.

If anything, it’s worth checking out just to be able to see the solo directorial debut of Hayao Miyazaki.

So, if you’ve seen Yuki’s Sun (1972), what did you think of it?

Leave a comment below or reach out on Bluesky and let me know!

You can also check out my Letterboxd account to see my quick thoughts on everything else that I’ve been watching.

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Title: Owning Mahowny

Director: Richard Kwietniowski

Runtime: 1 hour 44 minutes

Released: January 23, 2003 (Sundance Film Festival)

Available to stream on: Prime Video

Owning Mahowny (2003) is based on the true story of a Canadian banker who embezzled millions. Philip Seymour Hoffman plays Dan Mahowny, a man who looks like the walking definition of ordinary. He’s unassuming, awkward, and somehow always disheveled. But underneath it all is a man with a crippling gambling addiction that he can’t control.

After being promoted to Assistant Branch Manager at his bank, Mahowny gains access to larger accounts. His boss remains completely unaware of Mahowny’s gambling problem, allowing him to skim money off these accounts unnoticed. Mahowny’s actions are motivated not by greed or the desire for wealth, but solely to feed the monster within.

His girlfriend, Belinda (Minnie Driver), works at the bank with him. While she knows about his gambling addiction, she remains in the dark about the embezzling. But make no mistake, Belinda is no fool. Driver gives her character a depth that could have easily been overlooked, showing both her loyalty to Mahowny and her growing frustration as she watches him spiral deeper and deeper into his addiction.

Mahowny doesn’t gamble for the thrill or for the money. It’s all about the compulsion. Hoffman plays him with incredible restraint, subtly conveying Mahowny’s quiet desperation. His performance is criminally underrated, with all the emotion packed into the smallest details from how he holds himself, how he avoids eye contact, and how every decision pulls him deeper into trouble.

As Mahowny’s gambling habits escalate, the tension intensifies. Casino manager Victor Foss (John Hurt) immediately senses Mahowny’s vulnerabilities. He’s not an overt villain, but his calm, professional demeanor makes it clear he’s more than happy to exploit Mahowny’s addiction. The casino scenes are intentionally stripped of glamour. The focus isn’t on the glitzy allure of gambling, but rather on how it feeds the beast of Mahowny’s addiction.

Owning Mahowny focuses on the banality of addiction and how it takes over a person’s life in a repetitive, mundane way. Mahowny’s days are filled with lies, fraudulent transactions, and high stakes gambling that somehow never feels exhilarating. The film’s tension comes from the quiet moments. The brief glance at a computer screen as Mahowny manipulates bank funds, the way he awkwardly brushes off questions from his co-workers, and the slight crack in his voice as he assures everyone he’s still in control.

This is not the kind of film you’d expect from a story about a bank manager embezzling millions. It’s not a fast-paced thriller or a flashy heist movie. Instead, it’s a character study that leans into the raw, real aspects of addiction.

Owning Mahowny was an unexpected gem that I’m glad I found. There’s no happy ending, and you won’t walk away feeling upbeat. But one thing is for sure, this film will linger with you long after the credits roll.

Well, you know the drill. Now it’s your turn.

Drop a comment below or reach out to me on Bluesky and let me know what you thought of Owning Mahowny (2003).

As always, give me a follow over on Letterboxd to see my quick thoughts on everything else that I’ve been watching.

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Title: Listen Up Philip

Director: Alex Ross Perry

Runtime: 1 hour 49 minutes

Released: January 20, 2014 (United States – Sundance Film Festival)

As of this writing, available to stream on: Mubi, Tubi, Kanopy, Peacock and Pluto

Listen Up Philip (2014) launches you headfirst into the messy, self-sabotaging life of its title character while challenging you to keep up. Philip (Jason Schwartzman) is a young novelist on the verge of literary fame. Sounds great, right? Sure, except for the fact that Philip seems almost incapable of handling all of this in a healthy way. He stomps through his relationships like Godzilla, leaving nothing but destruction in his wake.

Philip’s girlfriend, Ashley (Elisabeth Moss), unfortunately bears the brunt of this. Their relationship is very clearly limping along and struggling to survive. Immediately you’re drawn to Ashley and actively root for her to find an escape from Philip. And when the movie briefly shifts focus to her, things begin to breathe a little bit. Ashley’s scenes wind up being the emotional core of a story that feels deliberately cold throughout.

Director Alex Ross Perry uses narration (voiced by Eric Bogosian) to stitch the story together. The narrator attempts to fill in gaps with a sort of detachment that fits Philip’s world perfectly. It’s clever while also keeping you at arm’s length, making it intentionally harder to try and care about what’s happening. While this works for a while, by the end, I found myself wanting something a little more personal.

Visually, this oozes mood and style, perfectly complimenting the rather pretentious literary scene Philip inhabits. However, the pacing doesn’t always match the energy of its visuals. Some storylines (like Philip’s mentorship with washed-up author Ike Zimmerman (Jonathan Pryce)) feel somewhat underdeveloped, while others tend to linger too long without much of a payoff.

That being said, what keeps the film compelling is how unapologetically it digs into its characters’ flaws. Philip is an absolute disaster, but he’s a fascinating one, and Schwartzman captures every bitter, self-destructive moment with precision.

Listen Up Philip (2014) is sharp, witty, and full of biting observations about ambition, ego, and the damage we do to the people we think we care about. But it’s also a film that demands your attention while not rewarding your investment. You’ll laugh, cringe, and maybe even see aspects of yourself in Philip’s chaos. Although, by the time the credits roll, you’ll be glad to leave him behind.

Well, now it’s your turn. If you’ve seen Listen Up Philip (2014), tell me what you thought of it in the comments below or by reaching out to me on Bluesky.

As always, if you want to see what else I’m watching, give me a follow over on Letterboxd!

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