Firmly planted as one of the year’s best films, “I’m Still Here” roots us within its tense and turbulent setting as good as any other movie you’ll see in 2024. Brazilian director Walter Salles, working from a screenplay by Murilo Hauser and Heitor Lorega, tells the powerful true story of Eunice Paiva, a wife and mother navigating through and eventually rising above a harrowing political whirlwind.

Based on Marcelo Rubens Paiva’s 2015 memoir “Ainda Estou Aqui”, “I’m Still Here” is set in Rio de Janeiro during the early 1970s amid an oppressive military dictatorship. In the Spring of 1964 the Brazilian Armed Forces carried out a coup d’état to overthrow embattled president João Goulart. The dictatorship that followed lasted 21 years and was marked by numerous human rights abuses including forced disappearances, torture, and executions.

Salles earns our investment early by dedicating a lot of screen time to developing the Paiva family. Eunice is the heart of the film and played with such emotional force by a brilliant Fernanda Torres. She shares a loving marriage with Rubens (Selton Mello), an engineer and former congressman. Together they have five kids – a son and four daughters, and all live in a lively two-story home near the beach.

The Paiva’s are a fun and vibrant family with members full of their own character, from the staunchly activist-minded Vera (Valentina Herszage) who heads off to London to study sociology to the intensely observant and news-conscience Eliana (Luiza Kosovski) whose grasp of their troubled world is beyond her years. Not only are they incredibly well written, both individually and as group, the performances are full of energy and heart.

But the family’s happy existence is interrupted one evening when a group of mysterious armed men show up demanding Rubens come with them to give “a deposition”. As he is escorted away, three men stay behind to keep watch over Eunice and their kids. A day passes without news from either Rubens or the government sanctioned agents who took him. As Eunice pushes for information, more men arrive and take her and Eliana, subjecting them to draining and abusive interrogations.

Eunice and Eliana are finally released but are left without any word on Rubens. The authorities play dumb to the point of denying Rubens was ever taken into their custody. The rest of the film follows Eunice’s search for the truth about her husband‘s abduction while at the same time doing everything she can to support and protect her children. It’s a powerful story based on true events and galvanized by Torres’ sublime performance – one of the year’s best.

Positioned as Brazil’s entry for Best International Feature at the upcoming Academy Awards, “I’m Still Here” is a historical drama that is worthy of every consideration. It tells an intense, enlightening, and heart-wrenching story of a family’s survival under the watch of an oppressive regime. It’s expertly brought to life by Salles who makes several candid statements on Brazilian history while maintaining an affecting focus on human resilience amid great suffering. Don’t miss it.

VERDICT – 4.5 STARS

As her husband continues his never-ending whirlwind promotional tour for his latest superhero jaunt, Blake Lively has her own movie out that will likely appeal to a much different audience. “It Ends with Us” is an adaptation of Colleen Hoover’s best-selling novel of the same name. The book was an intensely personal endeavor for Hoover who was inspired by the real-life relationship between her own mother and father.

The film is directed by Justin Baldoni who works from Christy Hall’s script. Baldoni also co-stars opposite of Lively who plays Lily Bloom. The movie opens with Lily arriving in the small Northeast town of Plethora, Maine where she is to give the eulogy at her father’s funeral. He was a highly regarded man in the small community. But for Lily and her mother Jenny (Amy Morton), life with her father was its own violent hell.

The funeral doesn’t go well and Lily hurries back home to Boston. She’s there to fulfill a life-long dream of opening her own flower shop. She has the perfect location and a supportive best friend Allysa (Jenny Slate) to help her get it on its feet. But her life really takes a turn when she meets Allysa’s brother, a hunky neurosurgeon named Ryle (Baldoni). The two had a chance meeting several months earlier, but soon after meeting again they both fall in love.

While that storyline is playing out, Baldoni and Hall frequently transport us back in time to Lily’s teen years. There we get a second storyline that follows a young Lily (played by really good Isabela Ferrer) who helps and eventually falls in love with a struggling neighborhood boy named Atlas (Alexander Neustaedter). It takes a while before we’re given any real context for the flashback story. It isn’t until later that we understand why it’s relevant.

Lily’s life gets complicated after she runs into Atlas (now played by Brandon Sklenar) for the first time since they went their separate ways as teens. Old feelings are instantly rekindled yet she remains committed to Ryle. At least until their relationship takes a sudden and deeply troubling turn that stirs up painful memories of her abusive father. It’s here that the movie takes a dramatic twist, moving from soapy melodrama into something considerably more substantial.

From the very start, Lively is the movie’s lifeblood. She gives a heartfelt performance that conveys both confidence and vulnerability while remaining authentic, even on the occasions when the material turns syrupy. She’s carries the bulk of the load, appearing in nearly every non-flashback scene, and in many ways saves the movie from its own unevenness. Lively brings emotional layers that prove to be critical to the story’s impact. Without them (and her) it’s hard to imagine the film staying afloat.

While “It Ends with Us” has its moments, the film has a tough time balancing its crowd-pleasing romance with its heavier subject matter. Themes of domestic violence and generational trauma play big parts, but they’re often undercut by the love story angles. But Baldoni deserves credit. Whenever his movie turns sudsy and saccharine, he eventually steers it back on track. And overall he offers a unique yet honest perspective on abuse. Some may find it too tidy, but I’m guessing it will hit home with the enthusiastic target audience. “It Ends with Us” is in theaters now.

VERDICT – 3 STARS

With “The Instigators”, director Doug Liman reteams with Matt Damon for the first time since their 2002 franchise launching hit “The Bourne Identity”. Their new film is a star-studded affair both in front of and behind the camera. Damon stars alongside Casey Affleck and is co-producer with his longtime friend Ben Affleck. In addition to co-starring, Casey Affleck also co-writes the screenplay with Chuck Maclean. Then you have the rich supporting cast which includes Hong Chau, Ron Perlman, Michael Stuhlbarg, Alfred Molina, Ving Rhames, Paul Walter Hauser, and Toby Jones among others.

Despite that wealth of talent, “The Instigators” is a buddy heist movie that never quite kicks into a higher gear. It comes close in spots. But as a whole, there’s too little action to be considered exciting, there’s not enough laughs to make this a satisfying buddy comedy, and it lacks the grit to be good crime thriller. “The Instigators” dabbles in a lot but isn’t committed to much of anything. It’s a lackluster misadventure that spends too much time sitting idle. And every time you think things are about to ramp up, its momentum stalls.

The story goes something like this – a Boston crime boss named Mr. Besegai (played by Michael Stuhlbarg) hatches a plan to steal campaign money from the corrupt Mayor Miccelli (Ron Perlman) during a $500-a-plate re-election gala. He puts the heist in the hands of Scalvo (Jack Harlow), a young and dense hood who (for reasons that are never quite clear) hires a desperate former marine, Rory (Damon) and a chatterbox ex-con, Cobby (Casey Affleck) to help him with the job.

From the outset we know the heist is doomed. The inept trio botches the robbery at nearly every turn, Scalvo ends up dead, and Rory and Cobby go on the lamb. And they’re not only running from the cops. Besegai hires an unreliable goon named Booch (Paul Walter Hauser) to take them out. Meanwhile the Mayor calls on Frank Toomey (Ving Rhames), an efficient and hard-nosed fixer to track down our harebrained protagonists.

The pursuit takes the pair across greater Boston, plunging us into the characters’ blue-collar milieu. What humor there is comes through the often organic banter between Damon and Affleck. The pair do a good job playing off each other, and both are convincing as clueless mismatched dolts. But their unremarkable journey struggles to generate much energy, though it gets a spark from Hong Chau playing Rory’s therapist, Dr. Donna Rivera. She’s roped into their hijinks through some ludicrous circumstances and offers a much-needed presence.

The film’s biggest sin is its massive waste of a wonderful and overqualified ensemble. Understandably Damon and Affleck are the centerpieces. But the supporting cast are either woefully underused or constricted by bad material. Chau and Rhames are able to whittle a little fun out of what they’re given. Stuhlbarg is stuck constantly screaming. Perlman is just a caricature. Hauser and Jones are barely blips. And somehow the great Alfred Molina comes across as an afterthought.

There are a few good laughs scattered throughout, mostly during the movie’s low-key moments, and we’re treated to a couple of well-filmed chase scenes that click. But “The Instigators” teases a lot more than it delivers. As a result, most of what we get is routine and old hat. And despite its obvious hometown intentions, nothing much feels authentic, including its nicely polished and hard to buy ending. “The Instigators” premieres August 9th on Apple TV+.

VERDICT – 2 STARS

It’s quite the accomplishment whenever someone is able to bring something new to slasher movies. I mean we’re talking about a horror sub-genre than has been around for 50-plus years and has spawned hundreds of feature films. It has fueled lucrative decades-long franchises and lined the shelves of video stores with cheap B-movies of every kind and quality. So when a slasher flick pops up with something new to bring, I admit to being impressed.

And that leads perfectly into “In a Violent Nature”, a fresh and ferocious Canadian slasher movie written and directed by Chris Nash. Unlike most slashers that view things through the eyes of its victims, Nash observes mostly from the perspective of the killer. At times his camera literally follows a few paces behind the hulking psychopath as he lumbers through the forest. Other shots provide something similar to a first-person point-of-view. Then you have these creepy wide shots that chillingly capture the killer’s interaction with the world. It’s such a striking concept and Nash mostly sticks with it throughout.

The film takes place in the Ontario wilderness where a group of college friends inadvertently and unknowingly awaken a grossly disfigured killer named Johnny (played in textbook Jason Vorhees form by Ry Barrett). Johnny, we learn, was killed by enraged locals ten years earlier after going on a killing rampage following some pretty sad circumstances. After clawing out of the damp, dark soil of his forest grave, Johnny sets out on a new spree, one-by-one targeting the group of loud and dingy campers in a number of delightfully inventive and insanely gory ways.

One of the most intriguing things about “In a Violent Nature” is how it manages to be both a high-concept arthouse film and an unashamedly traditional slasher movie. It’s both artful and unorthodox; built through the creative energy of a filmmaker who uses every facet of the cinematic form the make something unique. At the same time it gives a full embrace to the slasher genre, leaning on well-worn tropes and adding its own grisly sense of humor.

While watching the film you can’t help but feel you’re in familiar territory. Take the long-running history of insufferable teen(ish) victims who make you (in some subconscious and hilarious way) root for the killer. I’m betting you won’t remember any of the victims, but you’ll remember their demise. And that gets to the kills. Nash and his effects team have put to screen some of the gnarliest kills you’ll ever see. And that’s not hyperbole. They’re incredibly inventive yet proudly, shockingly, and (in some instances) hysterically gory.

Don’t go into “In a Violent Nature” expecting a meaty story or rich character work. At the same time, don’t go in expecting a conventional, garden-variety slasher flick. The sheer choices and craft alone is enough to separate it from the pack. The methodical pacing, the clever use of sound, the frequent moments of dark humor – they’re all vital components in realizing Nash’s unique and wildly entertaining spin on the well-traveled sub-genre. “In a Violent Nature” releases in theaters May 31st.

VERDICT – 4 STARS

Based on actress Robinne Lee’s 2017 debut novel of the same name, “The Idea of You” is a rather routine romantic comedy saved by a soulfully authentic Anne Hathaway. The movie mostly follows the tried-and-true romcom blueprint – the sweet meet cute, the simmering storybook romance, and of course that second half conflict that drives a wedge between our two star-crossed lovers. It has its share of cheese and sitting through the boy band performances can be a challenge. But Hathaway anchors the film and ultimately makes it work in spite of itself.

“The Idea of You” is directed by Michael Showalter who also co-wrote the screenplay alongside Jennifer Westfeldt. Their story sees Hathaway playing Solène, a single mother quickly approaching her 40th birthday. The bulk of her time is spent raising her teenage daughter Izzy (Ella Rubin), running her art gallery, and tolerating her obnoxious ex-husband Daniel (Reid Scott) who never shies away from expressing how wonderful his new life is.

After Daniel flakes out of taking Izzy and her friends to Coachella, Solène steps in to chaperone. Through a rather goofy mishap she meets the considerably younger Hayes Campbell (Nicholas Galitzine), a member of her daughter’s once favorite boy band, the mega-popular August Moon. I’m not 100% sure how, but sparks do fly and sets the table for a cheesy romance which quickly turns into the Lifestyles of the Rich and Pretty as the two embark on a world tour of love and lavish living.

With Izzy away at summer camp, Solène casts aside her initial hesitations and accepts Hayes’ invitation to join him in New York City and eventually on the group’s European tour. The age gap between the 40-year-old single mom and the 24-year-old pop star provides some initial tension leading them to keep their relationship a secret. But that proves impossible in an age of the paparazzi, internet, and social media. Soon Solène is forced to weigh the consequences of her own happiness.

At times “The Idea of You” seems caught between being a run-of-the-mill corny romcom and something deeper and more thoughtful. It teases interesting things about society’s expectations of middle-aged womanhood and later takes a more serious-minded look at being thrust into the modern spotlight. But the romance itself is a wobbly mix of endearing and saccharine. And the globetrotting fantasy takes away from some much-needed character work that could have given their relationship more depth.

Throughout its numerous ups and downs, the movie maintains one constant – Anne Hathaway. Her smart and grounded performance takes a fairly thin character and makes her interesting. She brings an authenticity to Solène that the story desperately needs. Galitzine is less convincing but solid enough (minus the fake tattoos and boy band bopping). If only the writing took their relationship further. Instead it never goes deep enough to fully shake the ick factor and it never goes beyond teasing themes that would have set it apart. “The Idea of You” is now streaming on Prime Video.

VERDICT – 2.5 STARS