Review: 'The Moment' gives Charli XCX a star vehicle, and a platform to mock the machinery behind 'brat summer'

Not since The Beatles in “A Hard Day’s Night” has a real pop star satirized themselves as thoroughly and as smartly as Charli XCX does in “The Moment,” a mock-documentary from director Aidan Zamiri that skewers the whole machinery behind rock ’n’ roll glory.

Charli plays herself, or a version of herself, as she’s getting ready to launch an arena tour to capitalize on the global success of her 2024 album “brat” and all the green-tinted “brat summer” trendiness that went along with it. As the rehearsals begin for the arena shows, everyone has an opinion of how it should go.

At the center, Charli is relying on her artistic adviser and friend, Celeste (Hailey Benton Gates), to keep the show true to the singer’s creative vision. But everyone — the hard-charging record company boss (Rosanna Arquette), Charli’s double-talking manager (Jamie Demetriou) and even her assistant (Trew Mullen) and her makeup artist (Kate Berlant) — wants to chime in, in an effort to keep the “brat” bandwagon moving.

The tension grows significantly when the label wants to bring in a hotshot film director, Johannes, played by Alexander Skarsgard. Johannes is a desirable director to the suits, because he has a track record making commercially successful music videos. Charli and Celeste think Johannes’ work is artistically devoid of style or substance, and would kill the “brat” movement.

Charli’s handling of the tour’s artistic voice is just one of the fires she’s putting out. She’s hearing a pitch for a “brat”-themed credit card. She runs into one of her shallow American friends (Rachel Sennott) in one nightclub bathroom, and at a spa in Ibiza she encounters Kylie Jenner. She’s also struggling with self-doubt that her artistic vision is worth the record label’s time and money.

“The Moment” isn’t just about the noise that surrounds a pop star, but also about the screaming in Charli XCX’s head as she juggles her artistic expectations with the hangers-on who only see Charli’s art as an ATM. 

Zamiri, who wrote the script by Bertie Brandes (from an original idea by Charli XCX), moves at a frenetic and highly energetic pace. (If you you are sensitive to high-speed strobing lights in your movies, stay away.) The rapid edits and jump cuts between, for example, the record label’s London offices and the Dagenham warehouse where the tour rehearsal is going on are reflective of the quicksilver mind of a singer who is making a pointed statement about art vs. commerce. 

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‘The Moment’

★★★1/2

Opens February 6 in theaters everywhere. Rated R for language throughout and some drug material. Running time: 103 minutes.

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This review ran previously on this site on January 26, when the movie premiered at the 2026 Sundance Film Festival.

Review: 'Arco' presents two views of the future, both of them radiant and perilous, and gives children hope for what's on the other side of the apocalypse

The near future meets the far future in “Arco,” a warmly whimsical story of children, robots and a glimpse at life on the other side of the apocalypses.

The story starts in the 30th century, when humans live in floating cities in the clouds, and travel through time with the aid of rainbow-striped jumpsuits — when every trip looks like the star streaking across the screen in one of those “The More You Know” public service announcements. It’s in this timeline that Arco, a 10-year-old boy voiced in the English dub by Juliano Krue Valdi, dreams of traveling in time like his parents, maybe going back to see the dinosaurs.

His plan is to take his sister’s rainbow suit and take the trip. Something goes wrong, of course, because he’s never flown the suit by himself, and he crash-lands in the year 2075. It’s a time when houses have protective bubbles, to keep the violent storms out. It’s also a time when parents work such long hours that their kids often seem them only as holograms, while the house robots do all the parenting and other jobs.

Arco is befriended by Iris (voiced in English by Romy Fay), a girl about his age, who lives with a robot-tended baby brother. She tries to help Arco figure out a way to get back to his time, while also avoiding a trio of lunatic scientists — voiced by Will Ferrell, Andy Samberg and Flea — who want to uncover the technology that put Arco some 900 years in his own past.

There are scenes in “Arco” — a movie that’s up for an Academy Award in the animated feature category — that are beautifully luminous, as the title hero and his new friend try to bridge the time gap and the fears a child would face in a perilous situation. There also are clever touches, like casting Natalie Portman and Mark Ruffalo as the voices of Iris’s parents, then blending both actors’ voices to create the voice of Mikki, the robot who cares for Iris and her baby brother.

It’s a bit odd, though ultimately refreshing, to deal with issues of environmental collapse in a film made for children. On the other hand, Pixar did it with “Wall-E,” and the little tykes’ brains didn’t explode from confusion. “Arco” presents a world that is in the middle of the planet’s disaster and shows a glimpse of what happens after — a hopeful time where people become rainbows.

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‘Arco’

★★★

Opens Friday, January 30, in theaters. Rated PG for action/peril, mild thematic elements and a brief injury image. Running time: 88 minutes. 

Review: 'The Testament of Ann Lee' is a riveting and radical account of religious fervor, anchored by Amanda Seyfried's fearless performance

You may not believe me when I say that “The Testament of Ann Lee,” in its radical depiction of the founding of the Shaker movement and its adherence to musical movement and rigid celibacy, is the most profoundly moving film about religious ecstasy I’ve seen in I don’t know when. You’ll have to take it on faith, which is the point of director Mona Fastvold’s daring movie.

It’s the middle of the 18th century in Manchester, England, when Ann Lee — played as an adult by Amanda Seyfried — and her brother William (Lewis Pullman), who have lived a brutal but typical life so far. One of the traumas Ann experiences is seeing her parents having sex, which leads her to believe fornication is sinful and should always be avoided.

One day, Ann, along with Willam and their niece, Nancy (Viola Prettejohn), visit the home of Jane and James Wardley (Stacy Martin and Scott Handy). The Wardleys are Quakers who preach that Jesus will return to Earth as a woman. The Quakers also celebrate their faith with dance, song and impromptu shouting — and Ann quickly takes to this enthusiastic and physical form of worship. Soon she becomes a major member of this group of so-called “shaking Quakers,” or “Shakers.”

Facing persecution in England, Ann and her cohort — which includes her husband, Abraham (Christopher Abbott) — leave for New England. Once there, Nancy leaves the community to marry a new convert, while Abraham leaves Ann because she follows her vow of celibacy. 

The Shakers establish a settlement in upstate New York and begin to attract new followers. This time is only a few decades before various religious movements sprung up in this part of the country — notably, Joseph Smith, founder of The Church of Jesus Christ of Latter-day Saints. Fastvold, working from a script she wrote with her husband, “The Brutalist” director Brady Corbet, captures an era where people are yearning for spiritual answers and seeking them outside their familiar churches. So why wouldn’t a woman who preaches a chaste life filled with making elegantly simple furniture and ritualistically singing and dancing appeal to some people?

It’s in those rituals that Fastvold finds the movie’s power. The film is technically a musical, in that there are many scenes where people are singing and dancing to express their feelings. But it’s not the tuneful jukebox you’d recognize from Broadway or old Hollywood. Instead, Fastvold and composer Daniel Blumberg draw from Shaker hymns to create a series of songs that produce the droning, rhythmic sensation you’d expect from cloistered monks. It’s jarring at first, but as the movie goes, these songs convey a hypnotic grace.

All would be for naught, though, without Amanda Seyfried’s captivating performance at the movie’s center. Though seemingly thin, almost birdlike, Seyfried’s Ann shows herself to be a force of nature, creating a form of worship and an American community through sheer will — and by sharing a fervent conviction that her view of the universe is the correct one. Seyfried’s performance is fearless and astonishing, in a movie that breaks all the rules of what we think a biographical drama should be.

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‘The Testament of Ann Lee’

★★★1/2

Opens Friday, January 23, in theaters. Rated R for sexual content, graphic nudity, violence and bloody images. Running time: 137 minutes.

Review: '28 Years Later: The Bone Temple' rattles the cage with its zombie energy, but director Nia DaCosta brings out her cast's best in the quiet moments

With “28 Years Later: The Bone Temple,” director Nia DaCosta jumps into the hellscape that Danny Boyle and Alex Garland have created with the frenetic zombie franchise — and finds her own vein of terror and deep emotion.

This thriller starts where “28 Years Later” left off, with young Spike (Alfie Williams) alone in the woods of England, trying to avoid The Infected, the ravenous flesh-eaters who have succumbed to the contagious virus that has hit much of the human population. He has left behind Dr. Kelson (Ralph Fiennes), the kindly physician who spends his days studying The Infected and processing the bones of their victims to create a massive memorial out of skulls and femurs. 

DaCosta, working off a Garland script, toggles between two stories. In one, Spike has reluctantly joined a pack of young survivors, led by the self-named Sir Jimmy Crystal (Jack O’Connell), who tells his teen followers that he’s the son of Satan and will lead them to destroy everyone who’s not them. (American fans may not pick up on the morbid joke that Sir Jimmy sports a look — platinum blonde hair, track suit and young acolytes — similar to that of the late British TV presenter Jimmy Savile, who after his death in 2011 was revealed to be a serial sexual predator.)

While Spike is learning to survive in Sir Jimmy’s gang, Dr. Kelson is continuing his work, extracting bones from bodies and moving corpses while cheerily singing Duran Duran songs. He also is making observations about the alpha of The Infected, whom he calls Samson (played by Chi Lewis-Parry), and starts to wonder if he can be treated so that his mind can break free of the zombie virus’ hold.

Of course, it’s inevitable that Sir Jimmy and Dr. Kelson will cross paths. What’s not inevitable is the way Garland, again acting as screenwriter, presents what happens to them. 

DaCosta — whose work ranges from last year’s Ibsen adaptation “Hedda” to the unjustly maligned “The Marvels” — doesn’t bring the frenetic energy Danny Boyle has demonstrated elsewhere in the franchise. That turns out to be a good thing, because for all the intense action and bloodiness that peppers the movie, what stands out are the quieter moments for both Fiennes’ Dr. Kelson and Williams’ Spike, strangers who have become bonded in survival.

Throughout “28 Days Later: The Bone Temple,” DaCosta keeps us off-guard, trying to guess what will happen next and rewarding us for answers more rich and powerful than what we in the audience would have conjured. She gives Kelson his grace and Spike a dose of empathy, things in short supply but greatly appreciated in this or any zombie apocalypse. 

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’28 Years Later: The Bone Temple’

★★★1/2

Opens Friday, January 16, in theaters everywhere. Rated R for strong bloody violence, gore, graphic nudity, language throughout, and brief drug use. Running time: 109 minutes.

Review: 'The Voice of Hind Rajab' blends drama and documentary to tell a harrowing tale of trauma and compassion in the Gaza war

The trauma of war, as experienced by those on the ground and the people trying to help them, is depicted in emotionally stark terms in “The Voice of Hind Rajab,” one of the most immediate and necessary dramas about the war in Gaza to arrive in theaters.

Writer-director Kaouther Ben Hania doesn’t set her movie in Gaza, but in a call center in Ramallah, on the West Bank, miles away from the shooting and bloodshed. The center is operated by Red Crescent, the Muslim world’s version of the Red Cross, and operated by experts who field calls from Palestinians in Israeli-controlled territory. 

When the call comes from Gaza, the operators will find out where the injured person is, then give that information to a coordinator – here, a man named Mahdi (American Hlehel) — who will then call his counterpart with the Red Cross, to start a daisy chain of calls to get the Israeli army to allow a path for an ambulance to travel. 

On this day, Omar (Motaz Malhees) takes a call from a Palestinian living in Germany, who says his sister in Gaza is in trouble. Omar gets the sister’s number, and learns she’s in a car with members of her extended family, pinned down by soldiers and a nearby tank. Then Omar hears gunfire.

I should let you know right here about the choice Ben Hania makes with the calls we hear in this movie: They’re all real audio from Red Crescent’s call center.

After he hears the gunfire on the line, the line cuts out and Omar tries the number again. This time, a child answers. Her name, we’re told, is Hind Rajab, She’s 6 years old and she’s terrified, and Omar and another operator, Rana (Saja Kilani), soon learn why: Hind is surrounded by the corpses of her aunt, uncle and four cousins. 

For Omar and Rana, it’s now a race against time, as they implore Mahdi to work the phones harder to find one of the last ambulance crews in northern Gaza — and then to call in every favor to get the “green light” for a route to get an ambulance to Hind’s location. Meanwhile, the center’s therapist, Nisreen (Clara Khoury), splits her time between helping talk to Hind and keeping Omar, Rana and Mahdi from destroying themselves from the stress of the situation.

Yes, that voice is the real Hind Rajab, whose plight became international news when Red Crescent posted some of the moments re-enacted here on social media. At the time, that decision was made to perhaps coerce the Israeli military to call a temporary truce, so the ambulance could get through to the girl. Since then — and after the aftermath of this one day in Gaza was revealed — Hind Rajab became a symbol for the young victims of this war, killed and injured and orphaned only because they grew up in the wrong place.

Ben Hania stages the film like a claustrophobic thriller, similar in tone and scope to another great recent movie, director Tim Fehlbaum’s “September 5.” This movie, like that one, consolidates all the action in one office, reliant on technology but also paralyzed by it, too far away to be anything other than a reassuring voice on the other end of the phone.

The quartet of actors are superb in reenacting the actions and emotions of the real-life Red Crescent team. Particularly good is Kilani as Rana, the one who was almost out the door when the call came in and pours her heart into trying to reassure a scared little girl.

Ben Hania employs a few maneuvers that blurs the line between re-enactment and documentary, such as a harrowing passage where someone holds up a cellphone to get video of the team, and for a moment we see actors on one screen and the real Red Crescent workers on the phone’s s screen. That scene, and others where the operators’ real voices briefly substitute for the actors’, don’t take the viewer out of the drama but plunge us deeper into it.

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‘The Voice of Hind Rajab’

★★★★

Opens Friday, January 16, at the Broadway Centre Cinemas (Salt Lake City). Not rated, but probably PG-13 for depictions of war and trauma, and for language. Running time: 89 minutes; in Arabic with subtitles.

Review: 'Is This Thing On?' explores stand-up as catharsis, but finds hope in strong performances by Laura Dern and Will Arnett

Love’s a funny thing, and so is divorce in “Is This Thing On?,” a shaggy comedy-drama from director Bradley Cooper that gives a rare leading-man spotlight to Will Arnett as a guy who finds a unique avenue for turning his life around.

Arnett plays Alex Novak, who has a finance job that we almost never see him do. Mostly we see him hanging out with his irresponsible actor friend, nicknamed Balls (and played by Cooper), and Balls’ overly understanding wife, Christine (Andra Day). Sometimes Alex’s wife, Tess (Laura Dern), is there, but that may soon change — because Alex and Tess are in the process of getting a divorce.

Cooper, who reworked a script by Arnett and Mark Chappell, presents the mechanics of the Novaks’ parting in a matter-of-fact style. There’s no precipitating incident, no screaming arguments, no revealed infidelity. It’s just two people who have decided, quite rationally, that the marriage has run its course. 

What we’re here to see is the aftermath. That starts when Alex, alone on a New York night, goes into a bar and learns that the way to get around the $15 cover charge is to sign up to perform stand-up comedy on open-mic night. He gets onstage without a prepared act, and starts unloading about his impending divorce. He gets a few mild giggles from the audience, but the experience is cathartic, and he wants more.

(The movie is based, loosely, on the story of English comedian John Bishop, who tried stand-up to cope with his own divorce. Americans might know Bishop from the short season he co-starred on “Doctor Who,” near the end of Jodie Whittaker’s run as The Doctor.)

While Alex is turning open-mic night into his personal therapy sessions, Tess is trying to figure out what’s next in her life. A former Olympic volleyball player, Tess is considering getting back into the sport as a college coach. The notion draws some attention, particularly from another coach, Laird, who might also be a potential romantic interest. (Laird is played, in an unusual bit of casting, by NFL legend Peyton Manning, who’s surprisingly not bad at this acting thing.)

Cooper spends most of the movie’s first half showing Alex building up his stand-up set, and his resilience to lukewarm crowds. The cast is populated with some real comics, and includes Amy Sedaris as the comedy club’s nurturing owner, who encourages Alex to dig deeper for his comedy.

The second half gets more interesting, as Alex and Tess finally have the heavy discussions they should have had earlier — about how their marriage fell apart and how they’re still strongly attracted to each other.

Some elements in “Is This Thing On?” fail spectacularly, and none harder than Cooper’s own performance as Balls, whose clearly limited acting talent is overwhelmed by his unjustly placed confidence in himself. It’s perhaps the most blatant act of cinematic self-sabotage I’ve seen in ages.

But it’s hard to stay angry when Dern and Arnett are on their game. Separately, they present a fascinating dichotomy in post-divorce coping, with one spiraling and the other blossoming. Together, they make one feel that love just might conquer all.

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‘Is This Thing On?’

★★★

Opens Friday, January 9, in theaters everywhere. Rated R for language throughout, sexual references and some drug use. Running time: 121 minutes.

Review: 'Primate' is a chimp-centered slasher movie that lazily slaughters its young cast in order of stupidity

What is the strange magic that turns seemingly intelligent people in their 20s into complete idiots? It’s being written into a horror movie, like director Johannes Roberts’ chimp-driven splatter movie “Primate,” which is designed solely to find semi-innovative ways to slaughter its cast.

In a remote house on the coast of a Hawaiian island, Lucy (played by Johnny Sequoyah) is coming home from college, with her best friend, Kate (Victoria Wyant), along for company. Kate has invited another friend, Hannah (Jess Alexander), who flirts with a couple of frat bros (Charlie Mann and Tienne Simon) on the plane.

Lucy quickly reunites with her family: Her father, Adam (Oscar winner Troy Katsura); her teen sister, Erin (Gia Hunter); and Ben (performed by Miguel Torres Umba), who is a chimpanzee who can communicate through sign language and a touchscreen with a symbolic vocabulary. Ben, we’re told, was raised as part of the family by Adam and his wife, a linguist who died from cancer.

Lucy’s barely unpacked her bags when Adam says he has to leave everyone for a day, while he goes off to a book signing where he also aims to pitch a movie based on the family’s life raising a chimp. That’s OK, though, because Lucy, Kate and Hannah have plans to party by the pool, with Lucy’s high-school crush, Nick (Benjamin Cheng).

Everything seems to be going fine, except for the thing the audience knows because of a foreshadowing prologue where a veterinarian goes into Ben’s enclosure, and the chimp — who, we soon learn, was infected with rabies, rips the vet’s face off. And Roberts (who made the shark movie “47 Meters Down” and its sequel) is content with letting the audience see the repulsive gore and body horror images in all their blood-red disgust. 

There are moments to recommend in “Primate,” largely coming from Katsura. The actor, who won the Oscar for supporting actor as the deaf fisherman dad in “CODA,” brings some warmth to the patriarchal role — and his lack of hearing is woven into the script fairly cleverly. 

When Katsur’s not in the picture, which is the entire middle section, “Primate” plays like another dumb psycho killer movie, with the attractive young cast making inexplicably stupid decisions and getting ripped to shreds one by one. The only tension Roberts mounts is making us guess in what order the characters will be dispatched.

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‘Primate’

★1/2

Opens Friday, January 9, in theaters everywhere. Rated R for strong bloody violent content, gore, language, and some drug use. Running time: 96 minutes.

Review: 'Greenland 2: Migration' presents round 2 of the apocalypse, and more chances for Gerard Butler's machismo and Morena Baccarin's fierce protectiveness shine through.

Surviving the apocalypse isn’t something you do just once, as the end-of-the-world sequel “Greenland 2: Migration” proves as it runs the Garrity family again through the aftermath of a cosmic cataclysm.

For those who don’t remember the first movie, “Greenland,” a quick recap: John Garrity (Gerard Butler), his wife, Allison (Morena Baccarin), and young son witness part of a comet striking the planet, causing mass catastrophe around the world. The family’s only hope is to find the one safe space left, in Greenland.

The sequel picks up five years later, with the Garrity family — including a 15-year-old Nathan, played by Roman Griffin Davis (“Jojo Rabbit”) — living with a few hundred other survivors in a bunker in Greenland. But surviving isn’t the same as living, since the bunker dwellers seldom see the sun because of radiation let loose by the comet, as well as occasional fragments of the comet that have been caught in Earth’s orbit and sometimes come crashing down.

With tremors laying waste to the Greenland base, the Garritys have to hit the road for a rumored sanctuary in southern France, in the crater where the comet, Clarke, originally struck. The journey puts the family through unstable territory, and people occasionally shooting at them. A further complication is that John is suffering a persistent cough — and, to paraphrase Bowen Yang from a 2024 “Saturday Night Live” sketch, “that’s movie for ‘dying.’”

The script — by Mitchell LaFortune and the first movie’s writer, Chris Sparling — sets numerous obstacles in the path of the Garrity family, most of them setting up action sequences for director Ric Roman Waugh (who also directed Butler in “Angel Has Fallen” and “Kandahar”) to stage for maximum thrills. The script also conjures up a string of lucky coincidences to ensure the Garritys always find friendly allies with a filtered air supply and a handy vehicle.

There are worse ways, I suppose, to make an action movie that highlights Butler’s rugged intensity and Baccarin’s tiger-mom ferocity. “Greenland 2: Migration” is gritty, sometimes cliched and often in love with its reliance on SteadiCam shots. But it’s a get-the-job-done thriller that delivers the action without pretense.

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‘Greenland 2: Migration’

★★★

Opens Friday, January 9, in theaters everywhere. Rated PG-13 for some strong violence, bloody images, and action. Running time: 98 minutes.