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HADESTOWN: THE MUSICAL |
SOUR PARTY |
A YEAR IN LONDON
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| See also: SHADOWS FILM FESTIVAL | Last update 22.Jul.26 | |||||
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Hadestown: The Musical Review by Rich Cline | 
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 dir Brett Sullivan, Rachel Chavkin scr Anais Mitchell prd Mara Isaacs, Dale Franzen, Hunter Arnold, Tom Kirdahy with Reeve Carney, Andre De Shields, Amber Gray, Eva Noblezada, Patrick Page, Bella Brown, Madeline Charlemagne, Allie Daniel, Lauren Azania, Tiago Dhondt-Bamberger, Ryesha Higgs, Waylon Jacobs, Christopher Short release US 24.Jul.26, UK Oct.26 26/US Bleecker Street 2h21 Is it streaming? |
 The original Broadway cast is captured on film performing their award-winning musical on a London stage. With a book and soulful songs by Anais Mitchell, the show is a barnstorming merging of the Orpheus and Hades myths. Hugely involving and entertaining, the movie superbly displays the show's vivid characters, evocative tunes and inventive staging, and it makes us want to experience the electric atmosphere in the theatre firsthand. In an early 20th century speakeasy, Hermes (De Shields) welcomes us to the world of gods and men, introducing us to young dreamer Orpheus (Carney), who is instantly smitten by Euridice (Noblezada). And he wins her over with a song. So Hermes reminds him of the story of the gods Hades (Page) and Persephone (Gray), who run the workhouse Hadestown downstairs. But Persephone hates it there, and Hades lures Euridice by promising to free her from her persistent money worries. When he discovers that she's gone, Orpheus works out a risky plan to rescue her. Skilfully filming a stage show, the imagery features eye-catching camera movement, angles and of course close-ups. This is also a musical performed in front of an audience that's occasionally on-camera, so everything is enjoyably heightened. The musicians share the stage as the club's lively band, adding spark to the big music and dance numbers. And the songs are beautiful, expressive, bristling with jagged wit and emotion. Because they are so experienced in these roles, the performers have an engaging ease that extends into each interaction and musical number. De Shields is magnetic as the show's knowing narrator. Carney and Noblezada have strong chemistry as the optimistic Orpheus and the more world-weary Euridice. Page has a powerfully growling presence as Hades. Gray's Persephone is a hilariously surly scene-stealing vamp. And the Fates (Brown, Charlemagne, and Daniel) provide their own extra spice. The classic story is of course strongly moving, and there are points of resonance scattered throughout this telling of it. Early on, Orpheus raises a glass "to the world we dream about and the one we live in now". But when she's no longer cold and hungry in Hadestown, Euridice begins to forget who she is. A charismatic fear-monger, Hades distracts his workers by reminding them that they are building a wall in order to be free and safe from an enemy. And in the end, Hermes reminds us why we love sad songs.
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Sour Party Review by Rich Cline | 
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 dir-scr-prd Amanda Drexton, Michael A Drexton with Samantha Westervelt, Amanda Drexton, Augie Duke, Fredrica Duke, Corey Feldman, Christopher Rodriguez Marquette, Nathan Owen, Ceciley Jenkins, Callista McMaye, Douglas Bennett, Scott Monahan, Reggie Watts release US 24.Jul.26 25/US 1h22 Is it streaming? |
 There aren't many movies out there about female slackers, so this uneven comedy definitely has some novelty appeal. The writing and acting are genuinely ridiculous, maintaining a level of idiocy that's rather impressive. And the way this offbeat odyssey plays out is so random that we are afraid to look away, because anything might happen. So it's frustrating that the filmmakers don't seem to care where it's going. Lamenting about the sorry state of the world, 30-year-old best friends Gwen (Westervelt) and James (Drexton) are delusional losers who steal garden plants for resale, never pay their bills and pin their hopes to cheesy visualisation boards. But Gwen needs a present for her sister's (Augie Duke) baby shower this afternoon, so now they have a mission to find some money. As they drive around town, their friends are either even more pathetic than they are, or they deny that they owe them anything. Perhaps they could do a performance on the Creep Peep website. Travelling around Los Angeles, Gwen and James just about remain optimistic. Gwen's sister and mother (Frederica Duke) know that she is lying about having a new job and clean hair, but she's too proud to admit that she has no cash. And James is absurdly obsessed with Nicolas Cage. All of the people they meet up with have been wronged by their thoughtless behaviour in one way or another. So where the story goes feels like both just-desserts and utter nonsense. Like everyone on-screen, we can readily see how hopeless Gwen and James are. Westervelt and Drexton dive fully into the roles, never flinching from even the most appalling attitudes. What's surprising is that they are somewhat likeable, even though everything they do is painfully annoying. But there's a nice bond between them, even if Gwen is unwilling to put herself at risk as much as James is for their friendship. Side roles are equally goofy, including a cameo from Feldman as an overconfident scam guru. While the film plays up awkwardly comical nuttiness, most scenes involve a creepy undercurrent. This comes through in things like squalid settings, religious nutcases and sneering rich guys who unapologetically take advantage of vulnerable people. There's also a deeper anger gurgling up that creates both abrasive nastiness and an almost eerie resonance. In the end, the story goes precisely nowhere. The only message is that if men were better at cleaning, then equality might be possible.
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A Year in London Review by Rich Cline | 
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 dir Flaminia Graziadei scr Flaminia Graziadei, Laura Jane Swain prd Flaminia Graziadei, Andrea Maffini, Valentina Quarantini, Marcoluca Cattaneo with Melanie Liburd, Nina Pons, Carlotta Morelli, Matteo Bassi, Sutara Gayle, Shaun Ramos, Clementina Aliberti, Nagaieh Dad, Ralph Palka, Elisabetta Jane Rizzo, Karin Giegerich, Nando Irene release UK 17.Jul.26 26/UK 1h30 Is it streaming? |
 Earthy and relaxed, this romantic comedy-drama follows a young Italian woman as she breaks out of a constrained, conservative upbringing, finding the courage to be herself. Filmmaker Flaminia Graziadei has made an almost outrageously good-looking film, beautifully shot with attractive actors who are wearing eye-catching costumes. Combined with the overwritten screenplay and rather loose editing, this makes the film feel somewhat artificial. But it's also warmly involving. Heading to London for a one-year course, aspiring fashion designer Olivia (Pons) is missing her idyllic Italian village, affluent parents (Giegerich and Irene) and dreamy boyfriend Paolo (Bassi). But she's thrilled to meet her idol, designer and lecturer Nina (Liburd), who is intrigued by Olivia's life as a third-generation tailor and encourages her to explore new ideas. Olivia's style evolves as fellow students (including Aliberti, Ramos and Rizzo) introduce her to the arts scene. And Nina takes Olivia under her wing as a protege. But both of them are reluctant to admit their mutual attraction. Early on, a mugging gives Olivia and Nina a shared trauma that they need to work through, sparking unspoken feelings and secret fantasies. The teacher-student dynamic keeps them at arm's length, but Olivia knows she needs to end things with Paolo, because he's only what is expected for her. Then as Olivia realises what she truly wants, she begins to break down Nina's resistance. This may play out in a contrived, soapy way, but the gentle pace draws us in. Liburd has a luminous quality as Nina, a successful woman who doesn't do relationships, leaving a trail of lovelorn exes, including Helen (a strong side role for Morelli), who is getting tired of circling around her. By contrast, Pons' Olivia has a clumsy charm with an underlying intelligence. Through the story, she gradually becomes more confident. Liburd and Pons develop an easy chemistry, although it's most felt in the scenes when they are on their own, thinking of each other. At the centre of the story is Olivia's blossoming, because for the first time in her life someone is encouraging her to find her own voice and follow her own path. And Nina lets herself begin to feel something she's been resisting for years. These internalised journeys are far more engaging than the structured romcom plot, largely because we know exactly where that has to go. Even so, after the expected problems and obstacles, the final act still elicits a smile.
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See also: SHADOWS FILM FESTIVAL © 2026 by Rich Cline, Shadows
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