Anschel

Still a wild fucking ride. Really wished it's my first time seeing it because my dumbass watched it with my phone way back in Covid. I still think that it's the best out of the Safdie's, every decision done in every single second was just perfect and it's really funny to dissect this one for me because the whole vibe of the movie is not something you'd talk about symbolism, I know that is kind of insulting but — to me — it's more of a compliment because it shows you how this film really immerses you in the world of this gambling addict so masterfully and brilliantly well that it's like you're seeing his life go on in real time, and you can't possibly think that it's a piece of art but actual, genuine reality. The immersion doesn't stop you from carrying on and ask questions like is the opal actually fake — I think it is fake because it barely sparks like the one in the beginning and looks really muddy, dusty, just really muffled colors — and how it represents false hope making Howie keep paying the price and digging his own grave more. It emphasizes the stark contrast between him and KG — he rambles on in his monologue that they're hustle is different but are playing the same game with KG and his basketball and Howie with his gambling — "they don't know what we feel," he says. But oh they are very different because when KG is hypnotized by false hope, he still gets shit done. Howard? Never will and his destined way of being a fuck-up makes the innocents in his life pay the price. Looks similar to Connie but they're different flavors. Howie is the simplest protagonist out of the Anxiety Trilogy — he's a flat character through and through, even more than Marty. He gets a win, he keeps on betting. He gets a win, another bet. Win? Another. It's like he's only here to bet and bet and bet and yet is the most captivating protagonist to me thanks to Adam's Sandler's incredible performance. Most captivating, not the most interesting which Connie still holds the crown. Julia Fox's supporting role is an unsung one she killed it in every single scene and really understood her character so well that her transformation to, also Julia, seems so genuine. Every subtle and bold choice was the right choice and her undeserving presence works in tandem with Howie so well. Unfortunately, Lakieth didn't stand out much but goddamn the guys who played the goons were a scene-stealer, especially Keith William Richard's Phil. The Safdie's peak.

First of all, good lord Amanda Seyfried. I know you don't care about the Oscars but wow this was one hell of a performance. It's genuinely insane her performance was not praised in this as much as it should because what a goddamn performance. One of the best in 2025 in my opinion and way better than a lot of the nominees. Fastvold gave us something incredible and the fact I didn't hear much buzz about it is criminal. The dance of Ann Lee's death had one of the most captivating choreography I've ever seen and was utterly hypnotized how perfectly in-sync everyone is during the dance — so much love and effort was put into it and every single person was in their A-game. Dance and singing as part of purpose and action. I'm not usually one to be immersed in musicals but this was amazing. I'm definitely converted by Mother Ann Lee and will finally try to watch all the musicals I've ignored all these years. There's much to ponder about this film — the beautiful rise of early feminism and religious freedom created by the suffering endured during their time. How their devotion is constantly being challenged and destroyed by society and then the lies of the American dream —promising freedom — that ultimately could not keep it up because there's unfortunately only three Shakers left in the world. Still, I see it as a hopeful tale of being devoted to what you have created. To persevere nonetheless whether that devotion becomes "meaningless" in the end. A place for everything and everything in its place. I cannot say that I am educated enough to speak on the history, I only heard about the Shakers from this film alone, but the way the story was executed through drama and musical definitely had me both at the edge of my seat and floored as well. This made me appreciate Corbet's The Brutalist (2024) more who tackles on the same messages of upholding your art and religion in a world that ultimately denies it — still iffy about the second part though.

The beginning and middle are really mid but the third act is incredible. Didn't really connected with it, which is surprising because arthouse with lots of talking and barely anything is happening are my bread and butter. But I can understand what others do — departure happens in a random afternoon and is and always will be ugly no matter how insignificant it may seem — plus Ireland always has this unique beauty from its tranquility. The actors did all a good job here. That "Oh god…maybe you never used to be” line hit like a truck though.

White people robbing a bank be like: I— I can't do it... Another gripping script and direction from Sidney Lumet. What else is there to say? Give this guy three dudes in a room and he'd still make an amazing film. Pacino is giving his all in this one, and it's sad that he didn't won the Oscar. Oh well, we know how the Academy goes — they don't award the best performance of the year but award the actor whom they feel should have won by now, not the performance itself.