Wild Horse Nine — Montclair Film Festival Review
I’ve seen more than 100 new releases in 2026 so far, and Martin McDonagh’s Wild Horse Nine is easily the funniest film I’ve seen all year. By the time I walked out of the theater, my face genuinely hurt from laughing so much. Normally, a second viewing can’t quite recapture the laughs of the first, but after catching it again as the opening-night selection at the Montclair Film Festival, I found myself laughing just as hard. McDonagh has mastered the art of the black-comedy crime thriller, crafting stories that are as bleak as they are hysterical, often anchored by complicated male friendships. From his feature-length debut, In Bruges, to 2022’s The Banshees of Inisherin, he excels at finding humor in humanity’s darkest moments. With Wild Horse Nine, the award-winning writer-director crafts one of his finest screenplays yet, resulting in a film that’s riveting, consistently hilarious, and deeply heartbreaking.
Behemoth! — NYFF Review
There are multiple ways to interpret the title Behemoth!, the latest film from Michael Clayton (2007) director Tony Gilroy. On the surface, it references something within the story itself, but I’ll refrain from elaborating in order to keep this as spoiler-free as possible. The word behemoth comes from the Bible’s Book of Job and typically describes something massive or powerful, whether it’s a creature, person, or organization. It feels like a fitting word to describe an orchestra coming together to play a piece of music. You have all these individuals from all different walks of life, each playing their own instrument, yet once the music begins, it's as though they merge into one enormous entity, something larger than the sum of their parts. During the press conference at the New York Film Festival, Gilroy explained that when you sit in on a scoring session, you’ve got a huge group of people who don’t dress or act alike, but when the light comes on, they become “this organism instantly right in front of you.” Behemoth! is a love letter to film scores and the people who come together to compose them, and from a musical and technical standpoint, this might be Gilroy’s most ambitious film to date.
The Testament of Ann Lee — Montclair Film Festival Review
Mona Fastvold’s The Testament of Ann Lee is a fearless, one-of-a-kind experience. Ann Lee, the leader of the Shaker Movement, a restorationist Christian sect founded in the 18th century, was a fascinating and controversial religious figure. Fastvold’s decision to tell her story through a musical lens adds another layer of intrigue and creative risk. The Testament of Ann Lee is a bold swing from Fastvold; it’s an ambitious, unconventional biopic bursting with ideas that don’t quite cohere into a fully satisfying whole.
Is This Thing On? — NYFF Review
Bradley Cooper’s third feature film, Is This Thing On?, exhibits the same intrigue with romantic complexities and a passion for the arts that were on display in his previous films, A Star Is Born and Maestro. This time, however, the art form is stand-up comedy rather than music. The film follows Alex Novak (Will Arnett), who reaches an amicable decision with his wife Tess (Laura Dern) to separate. One night, Alex wants a drink, but the bar has a $15 cover charge. The bouncer informs him that people who sign up for the open mic night are exempt from the cover, so he signs up. This awakens something in him, and he rapidly develops a passion for performing stand-up. On the surface, Is This Thing On? seems like it would be a simple movie about a man coping with his impending divorce by pursuing stand-up comedy, but in reality, it’s so much more than that.