Review: 'Pillion' presents the sexual dynamics between a studly biker and his young submissive with an unflinching eye, and finds tender romance beneath the leather surface.

If you’ve heard anything about writer-director Harry Lighton’s bondage-themed drama “Pillion,” you may already know that it’s unflinching in its portrayal of a young man’s sexual exploits as a submissive partner to a dominating motorcycle rider. What you might not latch onto, through the “don’t try this at home” exploration of the BDSM subculture, it’s oddly sweet and romantic.

The young man at the center of Lighton’s adaptation of Adam Mars-Jones’ book “Box Hill,” is Colin (played by Henry Melling), a young man seeking his first gay sexual encounter. He does this with the blessing of his parents, Pete (Douglas Hodge) and Peggy (Lesley Sharp), who even drive him to the bar for his first blind date. 

That date doesn’t go anywhere, but at the pub, Colin first encounters Ray (Alexander Skarsgård), an impossibly handsome man in motorcycle leathers. Colin later meets Ray on the street, and Ray guides him through a sexual experience in an alley. 

“What am I going to do with you?” Ray asks. “Whatever you want, really,” Colin replies.

Colin finds out how far that answer goes. Ray takes his measurements, and orders Colin is own set of leather ware — and puts a chain with a padlock around his neck, an outer symbol that Colin is Ray’s “property” within this biker group. Colin revels in this role, happily sleeping on the floor while Ray sleeps on the bed. He doesn’t share the details of his relationship with his parents or coworkers, except to say that he has “an aptitude for devotion.”

Lighton is forthright in his depiction of the strong sexual component to this culture — one doesn’t usually see this much butt-baring clothing outside a fetish supply store — but he also leans into the commitment and cooperation inherent in such a dominant/submissive relationship. The movie also digs into the camaraderie of the other submissive’s in Ray’s motorcycle group, and how Colin finds in it a place he can belong.

As magnetic as Skarsgård is as the hunky Ray, it’s Melling as the vulnerable Colin who really shines here. A quarter century from being introduced as Harry Potter’s bullying cousin, Dudley Dursley, Melling has grown into a mature actor, and watching how his Colin presses his leverage within the relationship is downright heart-warming.

“Pillion” isn’t for everyone — the sexual content is too in-your-face for many moviegoers, and makes “Midnight Cowboy” look tame. But it’s a movie that, for an audience who can meet it halfway, delivers a poignant romance under that rough exterior.

——

‘Pillion’

★★★1/2

Opens Friday, February 20, at the Broadway Centre Cinemas (Salt Lake City). Not rated, but likely on the border between R and NC-17 for strong sexuality and suggestions of extreme nudity. Running time: 106 minutes.

Review: "Wuthering Heights" is a delirious, delicious mess of a romance, with Margot Robbie and Jacob Elordi steaming up Emily Brontë's classic

Some people consider Emily Brontë’s 1847 novel “Wuthering Heights” not just a great romance novel but THE great romance novel, against which every love story is measured. So director-writer Emerald Fennell has her work cut out for her as she attempts to fashion a steamy, sensual movie out of it.

Fennell, who gave us plenty to chew on in “Promising Young Woman” and “Saltburn,” has the building blocks to adapt a cracking version of “Wuthering Heights.” Those include windswept moors for locations, a sumptuous visual palette, gorgeous costumes and two leads — Margot Robbie as the flighty Catherine Earnshaw and Jacob Elordi as the darkly brooding Heathcliff — who don’t just fill out those costumes but inhabit their legendary characters.

It’s not always smooth sailing for Robbie and Elordi, because the characters’ moods and motivations flit from one extreme to the other over the course of more than two hours. Both Cathy and Heathcliff swear their love to each other, but they also behave in the most beastly ways to each other and to anyone who comes into their orbit. They are, by turn, both the moth and the flame for each other, and they and others get burned.

Heathcliff starts out as an orphan, taken in by Mr. Earnshaw (Martin Clunes), who has squandered his fortune on gambling and strong drink. Cathy gives Heathcliff his name and, at first, treats him as a pet — but over time they grow into friendship. This stirs jealousy in Nellie, who lives in the Earnshaw’s home, called Wuthering Heights, and as an adult (played by Hong Chau) becomes Cathy’s paid companion.

Cathy and Heathcliff always seem on the verge of expressing their love for each other, but society pressures and occasional external events get in the way. One such event is the arrival of new neighbors, wealthy Edgar Linton (Shazad Latif) and his barely-adult ward, Isabella (Alison Oliver). Cathy is cajoled to think about marrying Edgar, because of his wealth, and abandon the idea of marrying Heathcliff. When Heathcliff overhears Cathy talking about Edgar, it drives him to a desperate decision.

Fennell’s script leans heavily into Brontë’s creaky plot mechanics — there’s a lot of things overheard, or attempts at communication thwarted by third parties — that border on silliness. Where the movie is more sure of itself is when Robbie’s Cathy and Elordi’s Heathcliff are together, getting soaked in the English rain or making out in various settings. 

People who watch this “Wuthering Heights” may argue online from here to doomsday about whether Robbie and Elordi have any romantic chemistry here. That’s in the eye of the beholder, really — but it’s clear they are hungry to fulfill Fennell’s sometimes contradictory impulses to capture Brontë’s 19th century moodiness while also working over the classic story into something more current and alive. 

——

‘Wuthering Heights’

★★★1/2

Opens Friday, February 13, in theaters everywhere. Rated R for sexual content, some violent content and langauge. Running time: 136 minutes. 

Review: 'Goat' puts a vibrant spin on classic sports-movie tropes, with an underdog goat trying to prove he can play with the big animals

Animated movies about animals are fun, and so are underdog sports stories — so getting both tropes at once, as the sports-minded animal movie “Goat” does, turns out to be more enjoyable than the trailers would have you believe.

Will Harris (voiced by “Stranger Things” star Caleb McLaughlin) has dreamed all of his young life of playing professional roarball — which looks a lot like basketball, and is played by large muscular animals. Will’s dream is a little more specific, as he wants to play for his hometown squad, the Vineland Thorns, alongside their star player, a panther named Jett Fillmore (voiced by Gabrielle Union). 

The main obstacle to Will’s roarball dreams is that he’s a goat — and smaller animals have never played in the pros in roarball. Will aims to prove himself, accepting an all-comers street ball challenge from the league’s biggest showboat, a horse named Mane Attraction (voiced by Aaron Pierre). When the footage goes viral, it catches the attention the Thorns’ owner, Flo Everson (voiced by Jenifer Lewis), who signs Will to a contract.

Of course there’s a catch — an obvious one to anyone who’s ever seen the 1989 baseball comedy “Major League.” And, like in that movie, everything hinges on whether this bunch of misfit athletes can come together and win the championship for Vineland. (By the way, basketball star Stephen Curry is one of the movie’s producers, so it’s no coincidence that Vineland evokes thoughts of the Golden State Warriors’ former home of Oakland.)

Thankfully, the parents of the target audience for “Goat” weren’t alive yet in 1989, so who’s going to tell the kids in the seats that this vibrantly animated, excitingly paced cartoon is made from recycled material? They’re going to have fun, so who am I to spoil their good time?

——

‘Goat’

★★★

Opens Friday, February 13, in theaters everywhere. Rated PG for some rude humor and brief mild language. Running time: 100 minutes. 

Review: 'Scarlet' is a boldly realized trip through an animated underworld, from the wild imagination of 'Mirai' director Mamoru Hosoda

The Japanese animated wonder “Scarlet” is an eye-popping and fiercely colorful work from director Mamoru Hosoda — and it stands shoulder to shoulder with his previous films, like “Mirai” or “Belle,” in their technical wizardry and boundless imagination.

Scarlet is a princess, but not the damsel-in-distress sort. She wields a sword expertly, and is on a mission to avenge her father, the king. He was killed by his brother, Claudius, who took his crown and the hand of the queen, Gertrude. Yes, this sounds familiar — it’s the basic plot of “Hamlet,” and Hosoda, as writer and director, even gives other characters names like Rosencrantz and Guildenstern to underline the comparison.

Hamlet, though, never traveled through the Otherworld, a shadow realm where the dead get a second chance to die horribly. Scarlet is looking for a way out of this purgatory so she can pursue Claudius among the living. And in an afterlife where conflict and combat are commonplace, it’s a surprise for Scarlet to meet Hijiri, a 20th century EMT who teaches the warrior princess about the value of nonviolence. 

The animation by Hosoda’s team is richly layered and sumptuous. The digital techniques used here maintain the crispness of classic line animation, staying away both from the big-eyed caricatures of traditional anime and the fleshy roundness of 3-D computer animation. If Hayao Miyazaki had ever overcame his aversion to computers, he might have come up with something like this.

——

‘Scarlet’

★★★1/2

Opens Friday, February 13, at the Megaplex Theatres at The District (South Jordan) and the AMC West Jordan. Rated PG-13 for strong violence/bloody images. Running time: 111 minutes, in Japanese with subtitles.

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. 

——

‘The Moment’

★★★1/2

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

——

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.

——

‘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.

——

‘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. 

——

’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.