Aarcflick

The inaugural episode of *The Audacity* proved to be truly chaotic, with countless characters feeling as though their world was crumbling around them; yet, it all felt strangely well-coordinated, and we could already glimpse the points of convergence where all the characters would begin to intertwine. By the end of the first episode, Orson discovered—while eavesdropping on Duncan’s therapy session—that neither of his parents had wanted to take responsibility for him following their divorce; furthermore, he ended up locked in the basement when the housekeeper noticed that the door to the small room where he was hiding had been left open. We see much more of Orson in episodes 2 and 3, and it becomes evident that he will play a highly significant role in the story. Faced with the threat of blackmail (and the fact that Duncan had barged into her home just as she was already feeling paranoid), JoAnne provides Duncan with the name of one of her clients—someone who could become a potential in...

 I think I might be the only person watching *Perfect Crown* who didn't realize that Min Jeong-Woo was the Prime Minister. I won't lie: the first two episodes of the series were, without a doubt, a bit dry; we didn't really get much information about the prince, other than the fact that there was a fire and that his sister-in-law isn't exactly thrilled that he's still alive. The premise is simple: these two individuals—neither of whom has ever been accepted on their own merits—end up falling for one another after forming a fake alliance for their mutual benefit.  It’s sweet and all that, but the first two episodes felt a bit disjointed, as they came across as neither serious nor comedic. However, I cannot deny that IU and Byeon Woo-Seok share fantastic chemistry, and that is precisely why we see such a marked improvement in episodes 3 and 4, which dive headfirst—and full steam ahead—into the fun, comedic side of the plot. I just hope this momentum doesn't fizzle...

A multifaceted crisis—one whose devastating consequences linger and whose persistence permeates every community. Gun violence remains a complex and emotionally charged issue. As noted in *American Solitaire*, the United States records an average of 43,000 gun-related deaths per year; 120 people a day—5 people per hour—are killed by others in this country. But we are not mere statistics. Director Aaron Davidman appears to have deeply internalized the art of portraying the aftermath of war, starkly depicting elements such as Post-Traumatic Stress Disorder (PTSD) and a loss of control in his latest narrative. It is a commendable effort, grounded in a sincere examination of how the world attempts to function under the constant awareness of having a gun in hand—though it lacks certain elements required to stand as a fully realized cinematic work. Director: Aaron Davidman Writer: Aaron Davidman Stars: Joshua Close, Gilbert Owuor, Joanne Kelly Imagine this: you have before you a fascinating d...

The behind-the-scenes portrait of *SNL* feels remarkably familiar, yet this time it is filtered through the mischievous, revealing gaze of the man who lurks behind the curtain. Like countless *Saturday Night Live* fans, I felt as though I had spent the entire year of the show’s 50th anniversary immersed in a sort of crash course on *SNL*’s history and its place within the world of entertainment. I’m referring to all the *SNL50* specials, the commemorative gala, Questlove’s music documentary, and Jason Reitman’s film *Saturday Night*—a backstage drama in which almost none of the actors quite managed to nail the cast members they were portraying, yet which still possessed a vision of its own: a sense of how *SNL* became the first major-network comedy show capable of capturing the danger and madness of the real world—what was happening off-camera—and bringing it directly to the screen. Director: Morgan Neville Writers: Morgan Neville, Alan Lowe, Jake Hostetter Stars: Lorne Michaels, Chevy...

Chandler Levack’s film consciously mirrors the rhythms of uncertainty—that eternal "where am I headed?"—of its 22-year-old protagonist. Grace (Barbie Ferreira), the heroine of *Mile End Kicks*, is a 22-year-old Toronto-based music critic who writes for an indie rock magazine called *Merge Weekly*; there, the staff consists of a group of male nerds who gather around their cubicles to engage in heated debates over whether Hüsker Dü’s masterpiece is *Zen Arcade* or *Flip Your Wig*. The year is 2011, and Grace has published 400 articles in *Merge* over the past year. As far as job opportunities for a 22-year-old music critic go, that figure isn't bad at all. Director: Chandler Levack Writer: Chandler Levack Stars: Barbie Ferreira, Jay Baruchel, Devon Bostick Moreover, Grace is an incisive writer. At the beginning of the film, we see her pitching an idea for the *33 1/3* book series—a collection of essays and meditations centered on individual albums; she wants to write a volu...

 It is a two-character film—well worth seeing—that ultimately transforms into a disquieting ghost story. In *Mother Mary*, the title character (Anne Hathaway)—a global pop superstar who could be said to draw inspiration from many figures, yet most directly and evidently serves as a variation on Lady Gaga (maximalist dance-pop; extravagant postmodern costumes; an air of transgressive Catholic ecstasy)—has a close encounter with Sam Anselm (Michaela Coel), the British fashion designer who created Mary’s visionary costumes. Sam was her inseparable collaborator—her "right hand" in times of tribulation—and, in fact, the relationship between the two went far deeper than that. However, they are now estranged and haven't seen each other in ten years. Their breakup was so cataclysmic that, in all that time, Sam hasn't listened to Mother Mary’s music a single time. Director: David Lowery Writer: David Lowery Stars: Anne Hathaway, Michaela Coel, Hunter Schafer But now, out of th...