The Grierson & Leitch Podcast: Ari Aster, Eva Victor and 'The Muppet Movie'

Will was in town but we did not record this episode in person. We talked about that, as well as reviewed two A24 films: Eddington and Sorry, Baby. Then, in our Reboot segment, we looked back at 1979's The Muppet Movie. Check it out down below.

'Press Play With Madeleine Brand': Lamenting 'Smurfs,' Debating 'Eddington'

Katie Walsh and I were at the KCRW studios yesterday to talk about this weekend's major movie releases. My big takeaway? Lots of stinkers! 

You can hear our reviews of Eddington, Smurfs and I Know What You Did Last Summer down below. (We also discuss an upcoming 70mm screening of 1984's Streets of Fire.)

Cannes 2025: The Wrap-Up and the Rankings

About halfway through this year's Cannes, I received some bad news that I had been expecting: A good friend succumbed to cancer. Within 30 minutes of hearing of her passing that morning, I was off to a movie, which featured a father dying of cancer. The movie after that featured a mother dying of cancer. Death was on my mind anyway, but over the next several days it kept popping up in the films I was watching, almost as if they were channeling my inner monologue, projecting my new reality up there on the screen.

I should not have been surprised. After all, movies tackle dramatic subjects, and few are more dramatic than mortality. I pride myself on being able to block out the world's distractions when I go to review a film. (I consider that a crucial part of my job.) But I felt the occasional jolt of recognition when death came creeping into a film's plot: "Oh, right, that. There it is again." Repeatedly, I was reminded that I existed in a new world, one without that person I just lost.

At the same time, it was extraordinarily surreal to be here at Cannes while processing my friend's passing. The place is just so damn beautiful, and the movies are so rich and rewarding. All festivals are a bubble from the real world -- that's one reason why people love attending them -- but a big part of me was able to shut out my sorrow simply because of my stimulating environment. Death may have followed me from screen to screen, but Cannes is so alive that you can trick yourself into forgetting. Still, I'm smart enough to recognize that my sorrow will be waiting for me when I return to Los Angeles. Bubbles have a nasty habit of bursting.

* * * * *   

With that acknowledged, let me now add that I found this to be a deeply great edition of the festival. Some of the movies I was most anticipating let me down -- the Spike Lee, the Wes Anderson, most certainly the Ari Aster -- but there was ample compensation from the expected heavy-hitters who did deliver the goods. And, of course, there were the revelatory discoveries, like Oliver Laxe's Sirat and Mascha Schilinski's Sound of Falling, easily the best movie I saw in Cannes. God bless Mubi, who took a chance on her ambitious, kaleidoscopic drama that spans roughly 100 years and four generations of different families living in the same home. The esteemed distributor is actually behind my Top Two from the festival, which also includes Kelly Reichardt's The Mastermind, one of the finest films this very fine filmmaker has ever produced. From the dazzling execution of Bi Gan's Resurrection to the formal rigor of Sergei Loznitsa's merciless Two Prosecutors, the major auteurs came out swinging. And that's not even mentioning two movies beloved by many here and merely really, really liked by me: Jafar Panahi's It Was Just an Accident and Kleber Mendonca Filho's The Secret Agent. 

Before I reveal my rankings, let's now take a moment to mention the films I wasn't able to get to, like Adam's Interest, The Love That Remains, Mirrors No. 3, My Father's Shadow, Urchin, A Useful Ghost and Yes!, to name just a few. (Some may notice that I didn't review Mission: Impossible – The Final Reckoning. I was set to do so, but my L.A. screening got canceled midway through because of a fire. It's a long story, but everyone's fine, so don't worry.)

From worst to best, here's a list of everything I saw, with links leading to individual reviews: 

37. Eddington
36. Eleanor the Great
35. The Wave
34. Fuori
33. The Richest Woman in the World
32. Leave One Day
31. Splitsville
30. The Chronology of Water
29. Alpha
28. The Phoenician Scheme
27. Romeria
26. Highest 2 Lowest
25. Honey Don't!
24. The Little Sister
23. The History of Sound
22. The Six Billion Dollar Man
21. The Plague
20. Woman and Child
19. Case 137
18. Pillion
17. Eagles of the Republic
16. Arco
15. Young Mothers
14. Enzo
13. Nouvelle Vague
12. The Secret Agent
11. It Was Just an Accident
10. Renoir
9. Die, My Love
8. Orwell: 2+2=5
7. Sentimental Value
6. Resurrection
5. Sirat
4. Sorry, Baby
3. Two Prosecutors
2. The Mastermind
1. Sound of Falling

For the first time since I started going to Cannes in 2013, I saw every film in Competition, all 22 of them. What that means is that when the jury, headed by Juliette Binoche, announces its awards, I won't have the usual FOMO feeling of "Oh shoot, I didn't see the Best Screenplay winner" or whatever. 

However, that doesn't mean I'm any more confident about what will take home the Palme d'Or than I was in previous years. Remember: I have never correctly guessed the winner, and I'm just as uncertain this year. Part of the problem is that the jury is made up of new people every year, and unless you're hanging out with them, you're just speculating on where their head is at. That said, here's my thinking. I could see It Was Just an Accident, Resurrection, The Secret Agent, Sentimental Value or Sound of Falling winning. Forced to narrow down the field further, I'll go with the movies that are perceived as the front-runners: It Was Just an Accident, The Secret Agent and Sentimental Value. (Why are they "perceived" to be the front-runners? Oh, because the people who like to make predictions about this stuff have said they are.)

My gut tells me it's either going to be It Was Just an Accident or Sentimental Value. In one corner, you have Jafar Panahi, one of cinema's giants, who has recently been freed from prison, enjoying a hero's welcome here at the festival when his film premiered. In the other, you have Joachim Trier, whose last Cannes film, The Worst Person in the World, took home Best Actress for Renate Reinsve. Sentimental Value seems to be the most beloved film, but while it's dangerous to make predictions based on the temperament of the jury president, I just feel like Binoche would be more inclined to go with a more challenging, politically incisive film for the Palme. So I'm picking It Was Just an Accident. If Sound of Falling or The Mastermind win, I would be ecstatic. 

Regardless how the awards shape up, readers should be excited about a bunch of great movies coming their way soon. Now, off to sleep for me, and an exit from the bubble into whatever awaits me on the other side.

Cannes 2025: 'Eddington' Review

Ari Aster was three-for-three before Eddington. But I think this new film is a misfire. I explain why over at Screen International.

'Press Play With Madeleine Brand': The Most-Anticipated Movies at the 2025 Cannes Film Festival

This year's Cannes is now underway. Before the storm, I jumped on a call with Madeleine Brand to preview four films to keep an eye out for, including Lynne Ramsay's Die My Love. You can hear our conversation down below.

'Breakfast All Day': A Long Talk About 'Beau Is Afraid'

My buddies Christy Lemire and Alonso Duralde had me on to discuss Ari Aster's latest. (They both didn't like Beau Is Afraid. I think it's great.) We did a live spoiler chat to debate the movie's highs and lows, with the Breakfast All Day faithful commenting and asking questions along the way. It was very fun. You can hear the results down below.

The Grierson & Leitch Podcast: Debating 'Beau Is Afraid,' Loving 'Evil Dead Rise' and Mourning 'Ghosted'

Lots of lively discussion on this week's podcast, which I always love. Hope you enjoy the episode, which you can hear down below.

'Beau Is Afraid' Review

Reviews are very mixed on Ari Aster's latest. Put me on the "pro" side. My review of Beau Is Afraid is here.

The 2022 Movies That Aren't Based on Anything

It's become a fun annual tradition: At the start of the new year, I'll put together a list of upcoming movies that aren't sequels, remakes, reboots or in any way based on true stories or preexisting material. My 2022 edition is over at MEL. Hope you enjoy.

'The Invisible Man' and the Era of "Believe Women" Horror

For MEL, I wrote about The Invisible Man and the recent trend of horror movies that build their terrors out of women's fear of being abused -- and of society not believing them. You can read the piece here.

What Genre Movie Was 2019's Finest?

Will and I have the answers.

2019's Best Genre Films

For SyFy, I ranked this year's best genre movies -- which means fantasy, horror, sci-fi films, etc. I covered a wide gamut, everything from Avengers: Endgame to Shadow, from Us to Little Joe. Hope you enjoy.

The Grierson & Leitch Podcast: Spider-Man, Sweden and 'Ocean's 11'

On this week's podcast, we agree that Spider-Man: Far From Home is one of the weakest of the MCU entries. Then, we dig into Midsommar and look back at 2001's Ocean's 11, which remains a delight. Hear the whole thing down below.

'Midsommar' Review

Midsommar isn't as terrific as Hereditary, but it's bold and ambitious, even if it's also sometimes a little silly. And Florence Pugh rocks, as always. My review is up at Screen International.