OMG, ‘Bugonia’ and ‘Regretting You’ Are Both Coming Out at the End of October, What Are We Going to Do?!

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We’ll never Regret Bugonia (Credit: Atsushi Nishijima/Focus Features; Paramount Pictures)

Bugonia

Starring: Jesse Plemons, Emma Stone, Aidan Delbis, Stavros Helkios, Alicia Silverstone

Director: Yorgos Lanthimos

Running Time: 118 Minutes

Rating: R for Disturbing Content That’s Often Funny But Also Occasionally Trauma-Inducing

Release Date: October 24, 2025 (Theaters)

Regretting You

Starring: Allison Williams, McKenna Grace, Dave Franco, Mason Thames, Willa Fitzgerald, Scott Eastwood, Clancy Brown, Sam Morelos, Ethan Costanilla

Director: Josh Boone

Running Time: 116 Minutes

Rating: PG-13 for Mild But Frank Sexuality and Drug Use

Release Date: October 24, 2025 (Theaters)

When you see as many movies as I do, whether out of critical obligation or personal fulfillment or both, you tend to experience a lot of tonal whiplash. And it doesn’t get much more whiplash-inducing than the one-two punch of the semi-lighthearted satirical conspiracy thriller Bugonia and Regretting You, a tragedy-tinged romance based on a Colleen Hoover novel. Both are arriving in theaters on October 24 (Regretting You in wide release, while Bugonia will begin limited and then expand on the 31st). One of them is perfect for Spooky Season in an oddball sort of way, while the other would seem more at home around Valentine’s Day. With all that in mind, I’ll structure this two-for-one review around the question of whether or not they could possibly make for a successful date night double feature.

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‘Eddington’ Says: “Remember This? Oh, You Do? Well, How About THIS?”

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What would you do, if this Eddington-ed to you? (CREDIT: A24)

Starring: Joaquin Phoenix, Pedro Pascal, Emma Stone, Austin Butler, Luke Grimes, Deirdre O’Connell, Michael Ward, Amélie Hoeferle, Clifton Collins Jr., William Belleau, Matt Gomez Hidaka, Cameron Mann

Director: Ari Aster

Running Time: 149 Minutes

Rating: R

Release Date: July 18, 2025 (Theaters)

My cycle of reaction to Eddington was pretty similar to my response to Don’t Look Up (2021). With the latter, I found myself going, “Yes, I know climate change is a looming disaster,” but then by the end, it got a little loopier, and I was like, “Oh, what’s this now?” As for Ari Aster’s latest, it pummeled me into an internal monologue of “Yes, I remember that 2020 was a volatile time, and yes, I know that young people fighting against injustice can be insufferable.” But then it takes a turn about halfway through, and I was like, “Oh, this is what you were building up to?” And then when it zooms into its unpredictable conclusion, I was like, “Okay, when did we get off this exit?” Maybe it could have sped up to driving off that cliff a little sooner, although perhaps Aster also wanted us to feel that like that frog in the boiling water first for a little bit.

Grade: 3 2020s out of 5 Conspiracy Theories

‘Kinds of Kindness’ is Kind of Out There

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What a racket! (CREDIT: Searchlight Pictures)

Starring: Jesse Plemons, Emma Stone, Willem Dafoe, Margaret Qualley, Hong Chau, Joe Alwyn, Mamoudou Athie, Hunter Schafer, Yorgos Stefanakos, Merah Benoit

Director: Yorgos Lanthimos

Running Time: 165 Minutes

Rating: R for Sexual Nudity, Ritual Nudity, Limb Removal, Petty Animal Cruelty, Etc.

Release Date: June 21, 2024 (Theaters)

What’s It About?: A man tries to break free from the grasp of the controlling boss who micromanages his entire life. Another man who looks just like that man suspects that the woman claiming to be his wife returning from a disappearance isn’t who she claims to be. Members of a cultish group are on a quest to find someone with the power of resurrection. It’s an anthology! And it’s called Kinds of Kindness, but I sure didn’t detect a whole lot of kindness in these vignettes. Maybe writer/director Yorgos Lanthimos and his co-writer Efthimis Filippou have a different conception of what that word means. Anyway, this movie is a real head-scratcher, in the sense that it produces the same sensation as sticking your finger up your nose and poking around in your brain tissue.

What Made an Impression?: O R.M.F., Where Art Thou?: Most of the main Kinds of Kindness cast members have a role in each of the three segments. Their respective roles have vaguely similar personalities, though it’s not clear if that’s how they were directed or if it just happens to be that way because they’re played by the same actors. If you squint, you can probably pick up on some Cloud Atlas vibes in the sense of the same souls existing within different beings. But since each Kinds of Kindness segment appears to take place in the present day, it comes across more as just alternative realities or hypothetical do-overs. The one constant is a guy known only by the initials “R.M.F.,” who serves as the namesake for each chapter despite not doing much of anything. Although, in the last part, entitled “R.M.F. Eats a Sandwich,” he does indeed eat a sandwich, so at least one promise is kept.
In the Mood for Vexation: Good movies often teach you how to watch them, but Kinds of Kindness seems intent on doing just the opposite. That doesn’t make it a bad movie per se, but if you don’t want to get frustrated, then you’ll have to adjust your calibrations and accept that you will almost certainly get frustrated. After releasing the most accessible film of his career last year in the form of Poor Things, Lanthimos has returned to the more impenetrable territory of The Lobster and The Killing of a Sacred Deer. (I haven’t seen his earlier Greek-language flicks, but they have a similar reputation.) I wasn’t expecting a satisfying ending, and I did not get a satisfying ending. I wasn’t expecting a legible message, and I did not get a legible message. There were moments here and there that brought a smile to my face (particularly a world run by dogs set to the tune of Dio’s heavy metal banger “Rainbow in the Dark”), but otherwise, this was a, shall we say, vacation into a land that claims to be speak the languages of English and cinema, and yet it’s not any form of communication that I recognize.

Kinds of Kindness is Recommended If You Like: Constantly opening one of those fake cans of nuts that’s actually a prank snake even though you know it’s going to be the snake every time

Grade: 3.5 out of 5 Changelings

‘Poor Things’ Seeks to Break Free

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How POOR are they?! (CREDIT: Atsushi Nishijima/Searchlight Pictures)

Starring: Emma Stone, Mark Ruffalo, Willem Dafoe, Ramy Youssef, Christopher Abbott, Jerrod Carmichael, Margaret Qualley, Kathryn Hunter, Suzy Bemba, Hanna Schygulla

Director: Yorgos Lanthimos

Running Time: 141 Minutes

Rating: R for Weird Science and Lots and Lots of Sex

Release Date: December 8, 2023 (Theaters)

What’s It About?: The case of Bella Baxter (Emma Stone) is a strange one. Dr. Godwin Baxter (Willem Dafoe) discovers her body after she attempts suicide and proceeds to bring her back to life via reanimation and a brain transplant. But because the brain he uses is that of a baby, Bella reverts to a rather infant-like mental state upon her resurrection. Her development back to a fully conscious adult happens remarkably quickly, all things considered, perhaps because that brain recognizes that it’s been encased inside an adult body. Nevertheless, Bella also gets to have the profound experience of being able to rediscover all the sensory pleasures of life on Earth.

Dr. Baxter understandably tries to keep her locked away from the outside world, though he does invite into the fold medical student Max McCandles (Ramy Youssef), who soon finds himself proposing marriage to Bella. But before that wedding can happen, she’s decided to see the outside world alongside hedonistic lawyer Duncan Wedderburn (Mark Ruffalo). As in many a hero’s journey, she will eventually return back to her starting point, having changed. But unlike a lot of other hero’s journeys, Poor Things features an unbound number of ecstatic sex scenes.

What Made an Impression?: A Fresh Set of Eyes: If there’s one lesson to be learned from Bella Baxter above all others, it’s the power of childlike wonder. Most of us have been living within our systems and routines too long to ever be able to fully question if there’s a better way. But Bella is a blank slate blessed with a mature body that can take advantage of her pleasures as much as possible. It’s a big reason why she charms everyone she encounters so much, despite her profoundly off-kilter, often juvenile disposition. It’s also, of course, why she enjoys sex (which she dubs “furious jumping”) as much as she does. However, her lack of inhibitions sometimes lead her astray, such as when she threatens to punch a crying baby, or when she tries to upend the carefully tended business practices at a Parisian brothel. But as her mental capacities lock into focus, she eventually devises compromises that she is uniquely qualified to conceptualize.
A World of Experimental Wonders: Bella is not Dr. Baxter’s only test subject, as we also get to meet some hybrid animal creatures wandering around his property that have been formed by head and body swapping among a goose, pig, and bulldog. The obvious antecedent here is Victor Frankenstein, but I also detected some playfulness in Dafoe’s performance, a la Futurama‘s Professor Farnsworth. Dr. Baxter has plenty in common with his hubristic brethren, particularly his tendency to seem like a deity to his creations. (It’s not for nothing that his first name is abbreviated to “God.”) Despite his tendency to control, he’s not as much of a monster as you might suspect. Instead, he’s one of the titular poor things, considering his history of abuse and experimentation at the hands of his own father. His abode is terrifying, but comfortingly so.
Soaking It All Up: If you somehow can’t engage with any of the characters of Poor Things, you can hopefully at least appreciate all the pretty business that director Yorgos Lanthimos and his crew have assembled. He’s certainly developed a unique visual style over the course of his career, and a movie set in an alternate version of the late Victorian era has allowed him plenty of room to be indelible. Fisheye lenses, purple-pink skies, spiral staircases that hover in the sky, and plenty more design choices make an inimitable visual impression. It’s all lived-in, anachronistic, and surreal, which is to say, an ideal environment for the Bella Baxters of the world to thrive in.

Poor Things is Recommended If You Like: American Pie, Socialist feminism, Steampunk

Grade: 4 out of 5 Transplants

Jeff’s Wacky SNL Review: Emma Stone/Noah Kahan

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Oh man, I’m totally Stoned. (CREDIT: NBC/Screenshot)

This here is a review of the December 2, 2023 episode of Saturday Night Live, hosted by Emma Stone with musical guest Noah Kahan. It’s her fifth time, and interestingly enough, a few days ago, I had a dream in which I met her right after she hosted this episode. So I think that’s a good sign!

For this review, I will be transcribing the notes I took while watching the episode, which I’ve done a few times before, and I enjoyed how it worked out, so here we go again!

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Memorial Day Weekend 2021 at the Movies Report: Nobody Puts ‘Cruella’ in ‘A Quiet Place Part II’

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(CREDIT: Jonny Cournoyer/Paramount Pictures; Disney/YouTube Screenshot)

A Quiet Place Part II:

Starring: Emily Blunt, Millicent Simmonds, Noah Jupe, Cillian Murphy, Djimon Hounsou, John Krasinski

Director: John Krasinski

Running Time: 97 Minutes

Rating: PG-13

Release Date: May 28, 2021 (Theaters)

Cruella:

Starring: Emma Stone, Emma Thompson, Joel Fry, Paul Walter Hauser, Mark Strong, Emily Beecham, Kirby Howell-Baptiste, Kayvan Novak, Tipper Seifert-Cleveland

Director: Craig Gillespie

Running Time: 134 Minutes

Rating: PG-13

Release Date: May 28, 2021 (Theaters and Disney+ Premier Access)

A Quiet Place Part II is pretty much more of the same. It’s not exactly the same, as we do get a flashback to right before the aliens arrive, and the Abbott family makes their way to a couple of new locations. But the vibe is very much a continuation, and the feelings it produced in me are pretty much exactly the same as they were the first go-round. Ergo, I will be giving it the exact same grade as I gave the first one.

Meanwhile, Cruella gave me pretty dang different reactions to every previous version of Ms. de Vil. A mashup of 101 Dalmatians, The Devil Wears Prada, and the Flight of the Conchords song “Fashion is Danger,” this is a triumph of getting down with your own bad self. Emma Stone … has got It. Emma Thompson … has got It. Costume designer Jenny Beavan … has outdone herself. That classic rock soundtrack is perhaps a little too dang relentless, though. But that’s the energy of the Cruella vs. Baroness Fashion War! It demands your attention, and more often than not, it earns it.

GRADES:
A Quiet Place Part II: 3.5 out of 5 Shushes (3 Years Old Version)
Cruella: 40 Quick-Changes out of 50 Dresses

‘Zombieland: Double Tap’ is at Its Best When It Fully Embraces Its Possible Irrelevance

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CREDIT: Sony/Columbia Pictures

Starring: Jesse Eisenberg, Woody Harrelson, Emma Stone, Abigail Breslin, Zoey Deutch, Rosario Dawson, Luke Wilson, Thomas Middleditch, Avan Jogia

Director: Ruben Fleischer

Running Time: 93 Minutes

Rating: R for All the Fluids That Spew Out in the Zombie Apocalypse

Release Date: October 18, 2019

There’s a running gag throughout Zombieland: Double Tap in which Tallahassee (Woody Harrelson) attempts to secure the title of “Zombie Kill of the Year.” He can never seem to quite pull it off, as his companion Columbus (Jesse Eisenberg) is on hand to helpfully inform us of some other recent dispatch of the undead that was just a little more impressive. This begs the question, in a post-apocalyptic world in which all mass communication has been decimated, how is word about these kills spreading so quickly and seamlessly? By Columbus providing this info via voiceover narration, there is an implication, perhaps unintentional, that he is somehow omniscient. Or maybe the conceit is that he is telling us this story years later, although that does not appear to be the case, what with the sense of immediacy to his dictation.

This is not the most worrisome concern to have, but it does stand in contrast to the original Zombieland, in which everything clicked into place just so, both comedically and logically. Double Tap has several elements like this that feel important but ultimately aren’t terribly so. The jokes are given greater emphasis, but even more essential is an investigation into a nagging sense of malaise. How do you go on living in a world overrun by zombies when killing zombies has become second nature? In addressing this question, the ten years that have passed since the first Zombieland are actually an advantage.

While people do die and new zombies are turned in this world, we are never worried that the makeshift family of Columbus, Tallahassee, Wichita (Emma Stone), and Little Rock (Abigail Breslin) will fall victim to the carnage. And they seem to know it. They’re living it up in the White House, treating every day like it’s Christmas, but that sense of security is only engendering mid-life, or quarter-life, crises. Columbus and Wichita especially are struggling with the realization that they have already accomplished all they need to in life by their thirties. I wish that the script had dug into these neuroses a little more deeply, but this movie works as well as it does because this malaise is the foundational conflict.

Now, to fully enjoy Double Tap, you’ll have to have a pretty big appetite for the same self-aware self-deprecating jokes being told over and over and a full embrace of certain stereotypes that have already been thoroughly deconstructed. But there’s a lot more melancholy than you might expect from a past-it-sell-by-date carnage-filled zom-com. If that’s not quite a Zombie Endorsement of the Year, it’s at least enough to assure us that our undead imaginations haven’t been fully depleted yet.

Zombieland: Double Tap is Recommended If You Like: Staring into the void, while repeating your favorite jokes over and over again

Grade: 3 out of 5 Rules

SNL Love It/Keep It/Leave It: Emma Stone/BTS

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CREDIT: Rosalind O’Connor/NBC

Jeffrey Malone watches every new episode of Saturday Night Live and then organizes the sketches into the following categories: “Love It” (potentially Best of the Season-worthy), “Keep It” (perfectly adequate), or “Leave It” (in need of a rewrite, to say the least). Then he concludes with assessments of the host and musical guest.

Love It

The Actress – When you’re an actor, I imagine you take your rewarding parts wherever you can find them. So as mundane and ridiculous as this sketch is, it strikes me as ringing 100% true. Not in the sense that Emma Stone actually has experience playing a non-sexual role in a porn video, but in the sense that she, and so many others, have surely had bizarre moments of character discovery, or have at least been fighting for them. That feeling of vulnerability is powerful, and I’m glad we got to witness it.

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This Is a Movie Review: Loopy Royal Period Piece ‘The Favourite’ is a Career Highlight for Its Three Lead Actresses

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CREDIT: Yorgos Lanthimos/Twentieth Century Fox

This review was originally published on News Cult in November 2018.

Starring: Olivia Colman, Emma Stone, Rachel Weisz, Nicholas Hoult, Joe Alwyn

Director: Yorgos Lanthimos

Running Time: 120 Minutes

Rating: R for A Very Sexual Royal England

Release Date: November 23, 2018

The hype for The Favourite indicates that it is not your typical period royal court drama, which is to be expected, given that it is directed by Yorgos Lanthimos, the Greek auteur behind such clinically chilling visions as The Lobster and The Killing of a Sacred Deer. And while The Favourite is certainly an oddity within the genre, that does not mean it is totally anachronistic. Lanthimos’ version is probably not an exact reflection of how the people within the orbit of the British Queen Anne spoke and behaved some 300+ years ago, but it does not seem impossible that they could have acted that way. People use certain four-letter words that are seldom heard from movie characters with the poofiest wigs and dresses, but these are words that have been around for centuries and surely some people were using them back then. Besides, The Favourite is not especially concerned with historical accuracy; the story behind it all is just inspiration for Lanthimos to craft his own devilishly compelling tale.

The most reasonable way to think of The Favourite is as a showcase for its three lead actresses (who get a little bit of help along the way from a few dudes), who have rarely, if ever, been better. Olivia Colman is Anne, hobbled by gout and occasional indecisiveness, perhaps more than a little manipulative in how she courts favor, but breathtakingly formidable once she has made up her mind. Rachel Weisz is Sarah, Duchess of Marlborough, close advisor (and much more) to the queen. She prides herself on being ten strategic steps ahead of everyone else, which is her greatest strength, even when it appears to be her downfall. Her wits allow her to get out of any sticky situation, up to and including kidnapping by a brothel. And Emma Stone is Abigail, Rachel’s cousin and new arrival to the court. She initially appears to be so unfailingly kind that it makes her a little stupid, but ultimately it is clear that she is a full-fledged ingratiator. Stone has never before immersed herself in such a dark persona. If Lanthimos has done his job right, and I think he has, your loyalties will constantly switch along with the characters to the point that you just want to applaud everyone.

The Favourite is Recommended If You Like: Amadeus, All About Eve, Persona

Grade: 4 out of 5 Powdered Wigs

 

This Is a Movie Review: ‘Battle of the Sexes’ is More Than Just a Tennis Match

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CREDIT: Melinda Sue Gordon/20th Century Fox

This review was originally posted on News Cult in September 2017.

Starring: Emma Stone, Steve Carell, Andrea Riseborough, Sarah Silverman, Bill Pullman, Elisabeth Shue, Austin Stowell, Alan Cumming, Natalie Morales

Directors: Jonathan Dayton and Valerie Faris

Running Time: 121 Minutes

Rating: PG-13 for Systemic Sexism and An Eye-Opening Affair

Release Date: September 22, 2017 (Limited)

The mark of a great biopic is how it transcends its time. It not only illuminates the period it is set in but also the era in which it is released and potentially remains relevant into the future. Battle of the Sexes, a dramatization of the same-named 1973 exhibition tennis match between Billie Jean King and Bobby Riggs and the events leading up to it, is filled with social issues that are still urgently pressing in 2017. When you consider the full scope of human history, the fact that a fight to be taken seriously has lasted at least 44 years ultimately does not seem that unprecedented. But it is frustrating regardless, and it is also galvanizing enough to make a crowd-pleasing narrative out of.

As King, Emma Stone must embody a straightforward, but recognizably human, conflict. She struts around with the indomitable spirit of conviction when fighting for women to be treated equally with the men in her sport, but her personal life is searching for the right identity. She instinctively understands that the real roadblock in her professional fight is not her clownish opponent, but rather, folks like ATP Executive Director Jack Kemp (Bill Pullman), who casually reinforces the status quo with subtly aggressive comments like, “the thing about women is they find it hard to consistently handle the pressure.” But of course King can handle the pressure of tennis’ old guard. What she cannot quite handle, at least not yet as a young adult, is her path towards coming to terms with her own sexuality. The presence in this film of a tantalizing but unsettling affair with another woman is crucial, demonstrating that the political is always personal.

As Riggs, Steve Carell reveals that the trolls of today (who couch their racism and sexism with the “I’m just kidding!” defense) come from a long line of deliberate offenders. He is happy to play the male chauvinist pig, but mainly for the purpose of getting eyeballs on his stunts (though he does play the part quite convincingly). But what drives this long-since retired former world number one is not a desire to reinforce the status quo but an inability to give up the hustle. You could roll your eyes at him all you want, but it is hard not to root for him a little bit, because you can actually see how he might be able to be a better human being.

As a compelling story, Battle of the Sexes is undeniably winning. As cinema, it mostly coasts by on that strength but does not add any particularly unique techniques to the inspirational sports genre. The acting is top-notch, the understanding of the subject matter is astute, the pacing is solid, and the attitude is appropriately calibrated. It is not hitting aces with every scene, but its service game is never broken.

Battle of the Sexes is Recommended If You Like: Bend it Like Beckham, Legally Blonde, Cool Runnings, Scheduling your year around the Grand Slam calendar

Grade: 3.5 out of 5 Serve and Volleys

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