‘Caught Stealing’ and ‘The Roses’ Invite Us to Reflect at the Cinema This Labor Day Weekend

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A Collage of Two Movies Coming Out in Theaters in Late Summer 2025 (CREDIT: Niko Tavernise/Columbia Pictures; Searchlight Pictures/Screenshot)

Caught Stealing

Starring: Austin Butler, Regina King, Zoë Kravitz, Matt Smith, Liev Schreiber, Vincent D’Onofrio, Griffin Dunne, Benito A Martínez Ocasio, Yuri Kolokolnikov, Nikita Kukushkin, Carol Kane, D’Pharaoh Woon-A-Tai

Director: Darren Aronofsky

Running Time: 107 Minutes

Rating: R for Reckless Violence, Some Drunken Debauchery, and a Little Bit of Sex

Release Date: August 29, 2025 (Theaters)

The Roses

Starring: Benedict Cumberbatch, Olivia Colman, Andy Samberg, Kate McKinnon, Sunita Mani, Ncuti Gatwa, Jamie Demetriou, Zoë Chao, Hala Finley, Wells Rapaport, Delaney Quinn, Ollie Robinson, Belinda Bromilow, Allison Janney

Director: Jay Roach

Running Time: 105 Minutes

Rating: R for Rather Colorful Language

Release Date: August 29, 2025 (Theaters)

Labor Day is typically known as the unofficial end of summer in the Northern Hemisphere, even though technically autumn doesn’t really arrive until the final third of September. Either way, it’s a time for altering routines and reflecting upon what you’ve been up to the past few months. In that spirit of looking back, we’ve got a couple of new releases for Labor Day Weekend 2025 that are both throwbacks in their own particular ways.

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‘Nightbitch’ is for the Canine Within All of Us

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The Nightbitch Cometh (CREDIT: Searchlight Pictures)

Starring: Amy Adams, Scoot McNairy, Arleigh Patrick Snowden, Emmett James Snowden, Zoë Chao, Mary Holland, Archana Rajan, Jessica Harper

Director: Marielle Heller

Running Time: 98 Minutes

Rating: R for The Messiness of Family Life While Raising a Toddler

Release Date: December 6, 2024 (Theaters)

What’s It About?: Amy Adams plays a Mother who’s been feeling a little suffocated at home lately. That’s because she’s taking some time off from her art career to raise her toddler Son (played by twins Arleigh Patrick and Emmett James Snowden), while her clueless Husband (Scoot McNairy) goes off each day and does a business. And it’s not just the sleepless nights and the constant messes that are driving her feral. You see, when the moon comes up, she becomes someone, or something, else. During the day, she is a human woman, but when the sun goes down, she is Nightbitch.* Yes indeed, the rumors are true, this Mother regularly transforms into a canine and stalks the neighborhood on all fours. (*I don’t remember her ever actually referring to herself as “Nightbitch” in the movie, it might’ve just been in the trailer. But either way, it is the name of her movie, after all.)

What Made an Impression?: Don’t Give Up on Yourself: A lot of the pre-release buzz about Nightbitch has dismissed (or celebrated) it as a 30 Rock gag come to life, but what’s most striking about the actual movie (based on Rachel Yoder’s 2021 novel of the same name) is how gentle and almost timid it is with its central metaphor. It’s just a dollop of magical realism rather than a whole course, as the Mother only fully surrenders to her canine side just a couple of nights. Or it’s possible that she transforms every night but doesn’t always remember it. Either way, the final cut is not filled beginning to end with nonstop doggone antics. But that makes sense, because that untamed version of the Mother has been suppressed so deeply ever since she started staying at home. But as the bitch begins to emerge, she mostly keeps it hidden from everyone else, even though it’s one of the most attractive things about her. Her husband, for example, certainly never sees the complete dog version, but what he can sense is a major turn-on. You wouldn’t have expected this sort of performance out of Amy Adams if you’ve only seen her in Junebug and Enchanted, but she has no qualms about getting down and dirty.
Thank You for Being a Friend: While Nightbitch makes its central point viscerally and unmistakably, it’s hardly revelatory. The Mother’s dilemma about losing herself is the same nightmare that pretty much any woman who is thinking about having kids faces. In these kinds of stories, the harried mother protagonist too often finds herself disappointing all womankind. But fortunately in this case, the Mother has a wonderful support system in the form of three lovely, rambunctious friends (Zoë Chao, Mary Holland, and Archana Rajan), as well as a wise, mysterious librarian (Jessica Harper). At a certain point, you have to wonder: are these women also nightbitches? The evidence points to no, but also… maybe? Either way, this is a wonderful story about letting the people in your life in to see the real you, whether or not that includes turning into a dog.

Nightbitch is Recommended If You Like: Admitting the things you’ve been too afraid to say for far too long

Grade: 3.5 out of 5 Magical Women

‘Downhill’ Demonstrates the Limits of Constrained Remakes

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CREDIT: Jaap Buitendijk/Twentieth Century Fox

Starring: Will Ferrell, Julia Louis-Dreyfus, Miranda Otto, Zach Woods, Zoë Chao, Julian Grey, Ammon Jacob Ford

Directors: Nat Faxon and Jim Rash

Running Time: 86 Minutes

Rating: R for Bold Language That Pops Out on Vacation

Release Date: February 14, 2020

Sometimes a remake that otherwise seems pretty pointless can be useful for helping to clarify something that you may have missed in the original. That happened to me with the explosive conclusion of the Korean classic neo-noir Oldboy and Spike Lee’s 2013 remake, and now I have experienced it once again with Downhill, Nat Faxon and Jim Rash’s take on the 2014 Swedish cringe family comedy Force Majeure. There’s a climactic moment on a ski slope in Force Majeure that felt to me at the time meditative and ambiguous, but when I saw Downhill‘s take, the purpose of that incident was spelled out much more clearly. (Although reconciling these two as congruent requires a specific interpretation of Force Majeure.) There’s an argument to be made in favor of leaving the meaning as subtext, but I know I felt satisfied in the moment. As for the rest of this American version, let’s just say this material is very tricky to make entertaining, no matter what part of the world you’re in and no matter how many times it’s been told.

Force Majeure‘s inciting incident is an all-time doozy, and Downhill does it pretty much exactly the same. The Staunton family is on vacation at a ski resort in the Alps when a supposedly controlled avalanche looks like it is about to turn deadly. In a moment of panic, Dad Pete (Will Ferrell) runs away from his wife Billie (Julia Louis-Dreyfus) and his two sons. Ultimately nobody is hurt, but the tension remains simmering for the entire vacation. This all plays out in set pieces that are quite often lifted directly from the original. Pete’s psyche breaks down as he cannot bring himself to admit his betrayal, while Billie insists on the version of the truth that she can so clearly see is the correct version, and friends and acquaintances look on horrified, profoundly flummoxed by the impossible task of lightening the mood.

It’s not necessarily a more Americanized version of the same thing, at least no more so than a version starring American actors must necessarily be. Instead, it’s a more mature version, as Ferrell and Louis-Dreyfus are more than a decade older than their counterparts, Johannes Bah Kuhnke and Lisa Loven Kongsli, were when Force Majeure came out. The original dealt with new-ish parents struggling with their evolving self-identities, while Downhill is about a middle-aged couple despairing, “It can’t be this disastrous after we’ve come so far, can it?!” That’s a theme it would have been wise to lean into more instead of relying so much on the template it had ready to go. But as it stands, it is still a fascinating dive into the panic that arises when we realize that we may never fully know who we and our loved ones really are.

Downhill is Recommended If You Like: Hard Questions

Grade: 2.5 out of 5 Avalanches