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“Memory,” writer-director Michel Franco ’s slippery dementia drama, is the kind of film that, initially, is so familiar and heavy-handed that your immediate impulse is to reject it. After all, it begins by capturing participants at an Alcoholics Anonymous meeting, photographed in oblique close-ups, each prolonging their memories with the phrase “I remember.” Before long, Franco’s gaze settles on Sylvia ( Jessica Chastain ), who is attending with her daughter Anna ( Brooke Timber ). Sylvia has been sober for twelve years, basically since her daughter was born. By virtue of being in this vulnerable space together, you get a sense of their closeness. But there’s more Sylvia hasn’t told Anna, such as why and how she became an alcoholic, that informs Franco’s interest in the ways trauma and disease can impact our sense of self. 

Franco’s film unfurls with measured curiosity, beginning when Saul ( Peter Sarsgaard ) literally enters the picture. Sylvia is sitting alone at a table during her high school reunion. A crowd in the background listens to a rousing speech; framed between the streamers, just out of focus, is Saul. His blurry visage, akin to a fuzzy recollection, stares at Sylvia. He walks over, sits down, and smiles. Sylvia storms out without a word spoken between them. Saul literally follows her home and stands outside her window like a jilted ex-lover. Though it begins to pour, he stays—sleeping in the hole of a tire with a black garbage bag as his blanket. There is very little dialogue spoken during this sequence, leaving the audience to feel along the walls of the dark narrative box that Franco has constructed.   

There are, of course, bumps and unique textures on the walls, primarily provided by Chastain and Sarsgaard, which also guide the viewer. As Sylvia, Chastain is knowingly rigid. She turns every lock on her door and diligently arms her home security system with the resoluteness of a warden. Though she works with her hands, assisting as a caregiver, around Saul, she doesn’t know what to do with them: She clasps, fidgets, and digs through her pockets. As Saul, Sarsgaard, with his loose walk and inquisitiveness, has an inviting presence. It’s perplexing then, why this seemingly amiable man would stalk Sylvia. 

Franco’s plotting offers three successive gut punches: Saul has early on-set dementia, Sylvia was raped at the age of 12 by Saul’s friend Ben, and Sylvia believes Saul raped her too. While the first two statements are true, the third, comes under greater scrutiny. These are two people whose memories have been afflicted in different ways: One by disease and the other by time and trauma. Saul’s brother Isaac ( Josh Charles ) complicates matters by offering Sylvia a job looking after Saul. Their dynamic, beginning on uneasy terms, soon flourishes, becoming the most captivating component of a film that stretches itself thin. 

“Memory” loses something when Franco steps away from Sylvia and Saul. Sylvia’s relationship with her daughter Anna, who wants the kind of freedom every teenager demands—the space to grow up—requires greater specificity: We’re just never sure of Anna’s likes and dislikes, aspirations or quirks. The same can be said of Sylvia’s extended family, the one belonging to her sister Olivia ( Merritt Wever ). Olivia’s children and husband are merely devices to pull further secrets from Sylvia. But their mechanics are so blatant, they almost disengage one from wanting to know more.  

Franco loves teasing impenetrable characters, see his Mexican dystopian thriller “ New Order ” and his English-language meditation “ Sundown ” for reference. But here, his plotting gets flattened a tad by his overworked approach. We know, for instance, the longer he keeps Sylvia and her estranged mother ( Jessica Harper ) in different spaces, how deep their fissure must be. The script’s game of keepaway becomes a tedious job of probing. Franco, thankfully, situates their divide in real emotion. Once Sylvia and her mother do collide—in a gut-wrenching, cathartic argument that reveals the latent memories that have permanently fractured this family—you understand why the pair have remained separated for so long. 

These gambits work because “Memory” isn’t a pure puzzle box. Told through a humanist lens, it never resorts to simple sentimentality. There have been plenty of films over the last five years about dementia (the good ones being “ The Father ” and “ What They Had ”). These works often take on characters in the latter stages of the disease, when the heartbreak is clear, and the toll is seen through the eyes of the affected family members. But Saul isn’t at that point yet. He still has agency, he still pines for love and carries regret. Saul’s dementia doesn’t pull focus toward the people around him; it centers how he is grasping his slipping reality. Thus, what arises are questions of capacity, of permission, and of autonomy. Can someone still fall in love, even if, day-by-day, they’re less and less like themselves? How do we respect the wishes of someone, who, one day, will not be capable of verbalizing their demands? What is the moment when one ceases to internalize their experiences?

“Memory” doesn’t necessarily have direct answers to those questions. But it does well enough to know that even if a person is damaged, whether emotionally or psychologically, that shouldn’t negate them from receiving the kind of support that doesn’t belittle them but treats them with a dignity that goes beyond their trauma.

In limited release now. Going wider in January.

Robert Daniels

Robert Daniels is an Associate Editor at RogerEbert.com. Based in Chicago, he is a member of the Chicago Film Critics Association (CFCA) and Critics Choice Association (CCA) and regularly contributes to the  New York Times ,  IndieWire , and  Screen Daily . He has covered film festivals ranging from Cannes to Sundance to Toronto. He has also written for the Criterion Collection, the  Los Angeles Times , and  Rolling Stone  about Black American pop culture and issues of representation.

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Film credits.

Memory (2023)

100 minutes

Jessica Chastain as Sylvia

Peter Sarsgaard as Saul

Merritt Wever as Olivia

Josh Charles as Isaac

Elsie Fisher as Sara

Jessica Harper as Samantha

• Michel Franco

Director of Photography

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Movie Review – Memory (2023)

February 19, 2024 by Robert Kojder

Memory , 2023.

Written and Directed by Michel Franco. Starring Jessica Chastain, Peter Sarsgaard, Merritt Wever, Josh Charles, Elsie Fisher, Jessica Harper, Brooke Timber, Jackson Dorfmann, Alexis Rae Forlenza, Elizabeth Loyacano, Josh Philip Weinstein, and Mia Mei Williamson.

Sylvia is a social worker who leads a simple and structured life. This is blown open when Saul follows her home from their high school reunion. Their surprise encounter will profoundly impact both of them as they open the door to the past.

When Jessica Chastain’s Sylvia and Peter Sarsgaard’s Saul properly privately converse in Memory for the first time following an uneasy scare the night before where the early onset dementia-stricken latter followed the former home (same subway route and all), she reveals the horrifying reason why she believes he did so. Anyone familiar with writer/director Michel Franco will be bracing themselves for more shock value that may or may not have substance. The filmmaker then spends the next 80 minutes, give or take, subverting those expectations into an emotionally stirring romance born out of their respective conditions and trauma, with quiet, gentle but powerful chemistry between these leads.

Sylvia has suffered from a history of sexual abuse that caused her to become estranged from her mother, Samantha (Jessica Harper), and embedded into a lengthy battle with alcohol addiction that she was able to quell when the birth of her now 13-year-old daughter Anna (Brooke Timber) came. Her mind is faulty in a different way, in where she accuses Saul of being a boy who often helped another boy assault her when they were 17 and she was 12, verbally blowing up on the man as he calmly sits there unaware of what to say, whether it’s because he never actually did these things or he doesn’t remember them. That mystery is cleared up instantly when Sylvia’s sister Olivia (Merritt Wever) looks into some public records and discovers that he didn’t move into the city and enroll there until the year she changed schools.

Meanwhile, Saul’s brother Isaac (Josh Charles) tells Sylvia, who also works at an adult daycare center, that she would make a good caretaker for him and that one will be needed since his daughter Sara (Elsie Fisher) is off to college. Again, when that suggestion comes in, there is that instant hesitation and pause for concern that Michel Franco is only trying to concoct the most grotesque, triggering dynamic imaginable. Even if he had gone that route, Jessica Chastain and Peter Sarsgaard probably still would have found something emotionally raw, revealing, and riveting there; that’s how captivating they are on screen together.

Rather than go down that bleak and dour route, Memory not only follows these two characters as they naturally grow closer but how Sylvia’s trauma and past have made her the adult and justifiably overprotective mother she is today. Throughout the film, Anna knows that she shouldn’t even bother asking her mom if she can go to parties or on a date with the boy she likes (even though he regularly visits their house), aware of what the answer will be. One day Anna might understand why and the truth will devastate her (without getting into spoilers, the horrors of her mom’s past are somehow more painful and disturbing than what is mentioned above.) 

Eventually, Sylvia’s mom comes into town, shedding light on the family dynamic in unsettling ways, seemingly having cast aside her daughter because of this past, to the point of nonchalantly taking it out on Anna (she brings gifts for all the grandchildren, but her) while also pretending she loves her daughters and granddaughters equally. She is also manipulating Anna to ask questions about her mom’s past. Simultaneously, Isaac disapproves of how much time Saul wants to spend with Sylvia, dehumanizing him and insisting that he doesn’t know what he is doing because of dementia, which doesn’t seem to be affecting their budding romance at all beyond his inability to process various entertainment mediums (a sad sequence in itself) and wander off while forgetting what he is doing.

The supporting performances from the closest things to villains in Memory could use a bit more nuance. There is also the feeling that the film doesn’t have much of a place to go narratively. Considering how immensely moving the performances are here, that’s not much of a fault. It is compelling watching these characters fall for one another, Anna discovering some horrifying truths about her mother’s past (there is a beautifully tender scene where she comforts her upon learning, with Brooke Timber impressive throughout), a depressing glimpse into how sexual abuse sometimes gets covered up within a family, and whether or not circumstances will allow them to be together.

By the time Sylvia and Saul are embracing one another in a bathtub, following a tense confrontation pressing their heads together, the love is beyond earned, and they are together because no one else can see these two people like they see each other. That’s the specific, beautiful love Memory is about.

Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★

Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check  here  for new reviews, follow my  Twitter  or  Letterboxd , or email me at [email protected]

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Review: In ‘Memory,’ two survivors come to a wary bond, even if the past harbors demons

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A guarded Jessica Chastain and a rumpled Peter Sarsgaard make mysterious, sweetly dissonant music together in “Memory,” a touch-and-go drama about connection that’s as steeped in discomfort as it is cautiously hopeful about one’s ability to find peace within it.

Writer-director Michel Franco’s take on an offbeat urban romance — between a social worker and a cognitively impaired, housebound man — has no use for easy or overwrought emotions or snap conclusions. Franco’s story implies that to really see someone on the inside is hard work. And doing so when nobody around you trusts your eyesight, much less your judgment? Even harder.

When we meet Chastain’s Sylvia, she’s the back of a head in a darkly lighted AA meeting. Members heap praise on her for how she’s handled her struggle across 13 years of sobriety, a span of time that corresponds to the age of her daughter, Anna (Brooke Timber), also in tow.

In the outside world, where she works in adult day care and lives in a tightly secured apartment, Sylvia’s manner is hard-edged and solitary — and when it comes to Anna, who enjoys hanging out with her aunt Olivia ( Merritt Wever ) and same-age cousins, as watchful as a hawk. Silvia looks ill at ease around her extended family, or is it just anyone who’s not her daughter?

Her unease palpably becomes ours, though, when she’s followed home from her high school reunion by a shaggy-looking attendee who then camps outside her building overnight in the pouring rain. Gentle-seeming but clearly not well, Saul (Sarsgaard) is picked up the next morning by his brother Isaac (Josh Charles), which is when we learn that the former suffers from dementia and lives unsupervised in his brownstone, occasionally looked after by Isaac and an adoring niece ( Elsie Fisher ).

Healing, connection, optimism’: Peter Sarsgaard takes ‘Memory’ beyond the dementia

“I find it so gratifying that people are emotional watching this. They have a feeling of unity and optimism,” the actor says.

Dec. 20, 2023

Sylvia, however, is convinced that smiling, polite Saul is actually a figure from her traumatic childhood who recognized her that night. When she initiates a follow-up visit, the gesture appears charitable but comes with a pent-up confrontation in mind. In its clarifying wake, however, a tenderness develops between these damaged souls, one that becomes increasingly difficult to understand for their respective families — including the mother Sylvia won’t speak to, for reasons that become disturbingly clear as things combust in the final act. (Even before we know what we suspect, Jessica Harper ’s few scenes vividly suggest a manipulative affluence worth purging.)

Franco is a cool-headed ironist with a flair for oblique narrative and a fascination with the detached worlds of the wealthy. In taut, violent oddities of disintegration like “New Order” and “Sundown,” his style can translate into a bracing, compelling distance that’s not for all tastes. But because “Memory” is, at root, a story of people finding each other, the vibe is more reminiscent of Franco’s caretaking character study “Chronic,” while still touching on the abiding peculiarities of people who come from money and what’s always simmering in broken people. More directly than his previous films, his penchant for long takes with minimal intercutting seeds an emotional suspense, for us as well as the fragile humans inside cinematographer Yves Cape’s cool, steady frame.

Chastain and Sarsgaard use that time and space well too, playing out what’s unspoken and making real their characters’ budding, unsentimental closeness. There are whole areas of this twosome’s bond that remain unexplained. Ultimately, that feels like a virtue of the movie, rather than a flaw.

Franco’s way with a heartfelt story means foregrounding a feral alertness to danger to get us to appreciate the warmth its protagonists are waiting to bestow. But it’s also what’s admirably adult about “Memory.” It’s a movie that understands fully how nothing about our lives is a given, and that if you look hard enough at yours, there’s always something worth escaping from and running toward.

Rating: R, for some sexual content, language and graphic nudity Running time: 1 hour, 40 minutes Playing: AMC Century City 15

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Screen Rant

Memory review: thorny drama gets all its depth from the actors.

Everyone is doing great work in Memory, and for me, the experience of being swept up in the acting is always worth the price of admission.

• Memory is a film filled with excellent acting that captivates viewers in the moment, despite its thematic shortcomings.
• The movie explores trauma and memory, but falls short in delving deeper into these issues.
• The performances in Memory, particularly by Jessica Chastain and Peter Sarsgaard, are captivating and make the film worth watching.

Editor's note: This piece was written during the 2023 SAG-AFTRA strike. Without the labor of the actors currently on strike, the movie being covered here wouldn't exist.

As a critic, one firmly held belief of mine is that great acting can be blinding. A cast or even single performer operating at the top of their game can be so mesmerizing that we leave a theater thinking more highly of the movie than it perhaps deserves, and only by digging a little deeper in retrospect can we deflate our opinion to the proper size. Such was my experience with Memory , an always good, sometimes very good film filled top-to-bottom with excellent acting. It takes on a number of thorny issues with the emotional intelligence not to sand them down, but thematically, the movie seems content to look at them rather than into them. And yet, it makes for captivating in-the-moment viewing, even if it's less likely to stay with you than you might've expected.

Written and directed by Michel Franco, Memory primarily follows Sylvia (Jessica Chastain), introduced to us at an AA meeting celebrating 13 years of sobriety, with her 13-year-old daughter Anna (Brooke Timber) in attendance. The more we see of her life, the more signs we notice of some lingering trauma: Copious locks on her New York apartment, for instance, or her hesitance to let in a male repair tech when she'd requested a woman. Her sister Olivia (Merritt Wever), eager to get her to socialize, drags her to a reunion event at their old school. When a man there wordlessly approaches, she leaves — and he follows her all the way home. We perceive the scene from Sylvia's perspective and assume ill intent. But when he's still there in the morning, having spent a cold, rainy night out on the street, she decides to check on him.

His name is Saul (Peter Sarsgaard) , and as it turns out, he has dementia. His memory can be fickle, better at holding onto the distant past, but capable of remembering something new for anywhere from a few seconds to a few months. So, why did Saul follow Sylvia home? She believes she knows. Days later, she decides to confront him about it. Does he remember participating in one of many rapes of her at age 12 by his high school friend, or has he conveniently forgotten? Saul doesn't remember, but not because of his dementia: Olivia informs Sylvia soon after that his family moved to their neighborhood the year that she transferred schools, so he couldn't have been one of her abuser's faceless friends. Saul's brother Isaac (Josh Charles) and niece (Elsie Fisher), not knowing this has transpired but seeing how taken he is with her, ask Sylvia, a social worker, to be his minder some afternoons. Though she goes at first to apologize to him, she ends up accepting the gig, and the two start spending a lot of time together.

I recount this early section of Memory 's plot not just to set up the complicated foundations of these lead performances, but to illustrate Franco's handling of our emotional journey. This movie often lets us live through a scene with one understanding, only to then blow up its original context and force us to re-assess. It's a thematically appropriate game, to a certain extent. We are being forced to grapple with our own memories of what just occurred when transformational information arises. But not all instances of this misdirection feel deeper than being played with. If films teach us how to watch them, we learn early to suspect Memory , and if the goal was to bring us back to trust by the end, I didn't get there. The doubt that enhanced the moments recounted above, by bringing us closer to Sylvia's experience of them, kept me distanced from what I believe we're meant to embrace later on.

In a lesser movie, this would have meant disengagement from the drama, but Memory never lost my attention because of how much there was to see in the performances. The visual style is observant, preferring stillness and distance to capture the actors' full physicality, through which their characters are made wonderfully manifest. The script hardly needs to contort itself into revealing scenarios; we learn all we need to know about who Sylvia is now by watching Chastain exist and interact. She, Wever as her sister, and Jessica Harper as their mother Samantha (who Sylvia has cut off completely) all have a certain openness, wearing their thoughts and feelings on their skin. Saul is different, exuding an easygoing warmth that is sometimes covering up a lack of understanding. He is not someone to assert his presence, so when the frustration and hurt of his situation is made bare, it feels like Sarsgaard is sharing a secret with us.

A lot happens, story-wise, but if the film had just followed Sylvia and Saul learning how to be around each other, it would've been enough. Thinking back, I don't find myself dwelling on the movie's ideas, but on some of the actors' choices. Chastain's arching of her shoulders like a deflector shield; Sarsgaard's intonation of certain lines, both humorous and heartbreaking; Harper's face barely holding back a nuclear meltdown within; Wever's sheepish, childlike sway in two key scenes. Timber, in her feature debut, is asked to be a more stable presence, and she conveys a depth of awareness while being more physically quiet. Everyone is doing great work in Memory , and for me, the experience of being swept up in that is always worth the price of admission.

Memory premiered at the Venice International Film Festival and does not currently have a set US release date. The film is 100 minutes long and is not yet rated.

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In Memory, Liam Neeson Gets to Act More Than Usual

Even those of us who’ve generally enjoyed Liam Neeson’s recent run of tough-guy roles sometimes forget that he can be a hell of a performer, too. His latest, Memory , directed by action legend Martin Campbell ( Casino Royale , The Mask of Zorro ), offers a helpful reminder that Neeson kicking ass need not mean Neeson on acting autopilot. The film, a remake of the 2003 Belgian thriller The Memory of a Killer , follows a hitman suffering from early-onset Alzheimer’s, but the dementia element is more a narrative contrivance than a serious exploration of a debilitating illness. (For that, you might want to check out Gaspar Noé’s Vortex instead, also out this week.) But Neeson, who had been an intensely physical actor even before he started playing guys with special sets of skills, conveys the vulnerability, pain, and fear of the character so well that he turns a nothing plot element into something genuinely moving.

When we first meet Alex Lewis (Neeson), he’s posing as a nurse in order to brutally strangle a man visiting his sick mother in the hospital. Our hero is not a good guy: Alex has spent his life killing people for money, often at the behest of gangsters operating in and around El Paso, Texas. But when he’s given a job that involves targeting a young girl, he refuses to kill her. Is this a sign of a humanity he’s always had, or is it a newfound hesitancy brought on by his condition? “You’re going soft,” his boss, Mauricio (Lee Boardman), says, bitterly.

A greater conspiracy is unfolding, however. The girl, Beatriz (Mia Sanchez), was a child-trafficking victim, and a dogged FBI agent, Vincent Serra (Guy Pearce, who himself starred in Memento 22 years ago, a film to which Memory occasionally nods), is hoping she will be the witness to help him take down a massive human-trafficking operation. The conspiracy, however, reaches through the upper levels of El Paso society, including the family of local businesswoman and philanthropist Davana Sealman (Monica Bellucci). While Serra and his partners, among whom is Hugo Marquez (Harold Torres) of the Mexican intelligence agency, encounter obstacles legal and otherwise, Alex seems to be the one person who can cut through all that red tape — a deadly lone wolf with what is now a personal grudge and not a lot of time left.

That results in an intriguing confusion of loyalties that the film probably could have done more with; Serra and his crew are torn over whether to try and stop Alex or to let him work his killing-machine magic. But overall, Memory works not so much as a procedural — it’s a bit too simply plotted for that — as it does as a character study. Credit the actors, and director Campbell’s willingness to give them their space. Neeson, in particular, is well-suited to portray Alex’s growing fragility. When he wakes up in the middle of the night, haunted by the images of people he may or may not have killed, his fear and confusion are overwhelming. The actor has always had a thing for suffering; even his action movies are on some level about shame and regret and intense personal pain . But what was submerged in the previous movies is out in the open this time. One scene where Alex cauterizes a bullet wound in his torso with a bottle of liquor and a lighter is so agonizing that I’d believe it if you told me Neeson had actually burned himself.

There’s an interesting edge to the action, too. Alex smashes heads and blows away people (not all of them bad guys, either) with ruthless, automatic efficiency, but it all feels reflexive, as if it’s been programmed into his muscle memory. That speaks to why he’s able to keep offing people even as he seems to be losing his cognitive abilities. He’s been killing for so long that it comes as naturally to him as breathing. That makes for a compelling contrast: On the one hand, we get surprisingly effective and visceral violence — the genre spectacle at which Campbell has always excelled — and on the other, a very real tenderness and anguish that’s quite rare in this sort of flick. In the end, Memory ’s greatest asset might be that it knows exactly what it is — a fun combination of sleazoid action and surprising emotion. It’s the best kind of B-movie.

• movie review
• liam neeson
• martin campbell
• alzheimer's disease
• memory of a killer
• monica bellucci

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• DVD & Streaming
• Drama , Thriller

Content Caution

In Theaters

• April 29, 2022
• Liam Neeson as Alex Lewis; Guy Pearce as Vincent Serra; Monica Bellucci as Davana Sealman; Ray Stevenson as Detective Danny Mora; Ray Fearon as Special Agent Gerald Nussbaum

Home Release Date

• June 21, 2022
• Martin Campbell

Distributor

• Briarcliff Entertainment

Movie Review

Where did he put the keys? They should be here under the windshield visor. That’s where he always leaves them. He wouldn’t have taken them into the hospital with him. Would he? No, no. That would be crazy. Sloppy. Bad, bad, bad.

They’re not on the seat. Not in his pants pocket. In his shirt! Yes, he put them in his scrubs’ top pocket. That’s right, he was masquerading as an orderly this time. Hospital. Scrubs. Right.

He almost forced himself to retrace his steps back through the lobby and into the room where he garroted his mark’s throat. Blood everywhere. People walking by. Bad. That would have been an amateur mistake. He never makes those. Or … he didn’t.

But things are getting worse.

Alex Lewis has long known that the decline would happen. Alzheimer’s disease has hit his whole family this way. His older brother is little more than an empty … uh, just empty at this point. For Alex, it’s only been little things: a key, a picture, a word, a note. That’s why he’s taken to writing instructions and reminders on his own arm. But for some jobs, like Alex’s, you can’t be plagued with memory loss or the threat of a rubbed-off message.

Killers can’t be losing track of things. Not even keys. In this line of work, it won’t get you fired. It’ll get you dead.

He even tried to quit. But his handler talked him out of it. “Men like us, don’t retire,” he told Alex. But what do you do when you can’t remember the address, the name, the … thingamajig any longer? What then?

Just one more job. Make it a big one. And then he’ll have enough cash to hide himself away somewhere, maybe. He’ll have to leave what’s left of his brother behind. But, hey, soon enough he’ll probably forget him anyway.

Just one last, uh … whatchamacallit. Then he’ll be fine.[ Note: Spoilers are contained in the following sections. ]

Positive Elements

Alex’s next job changes everything, as he’s called upon to kill a teen girl who had been dragged into child prostitution by sex trafficking ring. Obviously, that’s not good. Alex, however, can’t force himself to follow through. But the girl is brutally murdered anyway by someone else. Alex, feeling that he’s close to losing everything anyway, takes it upon himself to hunt down those calling the shots. He also helps an FBI agent named Vincent Serra. Vincent had gone out of his way to help protect the abused girl—who was left homeless after a police sting went wrong.

Both men attempt to bring the powerbrokers behind the much larger trafficking operation to justice. Of course, their methods for doing so are much different. “We all have to die, Vincent. What’s important is what we do before we go,” Alex tells the FBI agent.

Amid a tainted justice system, we see very few good men and women. Vincent is one of a rare breed here.

Spiritual Elements

A Mexican detective wears six St. Mary medals around his neck to remind him of abused and murdered young women that he’s encountered in the course of a human trafficking case.

Someone says a prayer in Spanish and ends it with an affirmative “Amen.”

Sexual Content

We see several different women wearing open shirts or low-cut tops. One of them is in a formfitting swimsuit. Part of Vincent’s investigation into a sexual trafficking ring involves him paying, supposedly, to have sex with a man’s teen daughter. The girl undresses to a lightweight shift, but then discovers that Vincent is wearing a wire when she pulls open his shirt.

Later we see snapshots of that same teen girl being slapped by her father and a short video of her being tossed onto a bed by a shirtless older man. Later still, we see that same man at a yacht party. He strips off his clothes and lays face down on a bed and orders a different teen girl to get undressed. (She’s stopped from doing so.) The party also features an onboard hot tub packed with young women in bikinis.

A wife suspects her husband of an affair and demands he wash off the woman’s perfume. A woman openly flirts with Alex at a bar and later—after Alex slaps down a drunken man rudely hitting on her—the two end up in bed together. We see her in a cleavage-baring slip the next morning.

Violent Content

There’s quite a bit of brawling and death-dealing in this R-rated pic. Alex pounds away at several men in and out of the course of his job. He also breaks a man’s nose with a rifle butt. He batters another guy in a public restroom, smashing the man through a porcelain toilet. He slaps a drunk around at a hotel bar, slamming his head into the bar.

In another scene, Alex beats a killer mercilessly, slamming the man’s head and face into a car mirror and through a window. He then ties the bloodied man into the car and detonates a bomb on the vehicle’s undercarriage. We see him shoot several people in the head, up close and at a distance. He rips open a man’s gushing neck with a wire garrote.

In turn, Alex is also beaten badly by an angry police officer in a police interview. And the guy notes that he’ll take all afternoon to beat a confession out of him.

We’re shown pictures of two young boys with bruises all over their backs. A young girl is battered. We see her later with a bloody bullet hole in her forehead. A woman’s throat is slashed open by a man behind her, and the camera watches her bleed out. An innocent woman is shot in the throat by a gunman. Alex is shot in the side at one point and his shirt soon becomes soaked with blood. He opens his shirt, revealing the wound, then pours vodka on it and lights it afire to cauterize the laceration.

Someone tells a story about his wife getting hit by a drunk driver who then backs up to kill her son so there wouldn’t be any witnesses. A police sniper kills an innocent man. A man is riddled with bullets from police fire. Vincent tumbles out a second story window with an armed man who dies in the fall.

Crude or Profane Language

Some 40 f-words and a dozen s-words are joined by multiple uses of “a–hole” and “h—.” God’s and Jesus’ names are misused seven times total (with God’s name being combined with “d–n” once).

Drug and Alcohol Content

Both Alex and Vincent drink pretty heavily in several separate scenes. We see others drinking champagne, wine and booze at bars and at a yacht party. Vincent and a fellow female agent get drunk at a bar. A man and woman drink shots of tequila. A murder victim’s wife is visibly drunk during a police interview.

Two different guys smoke cigarettes.

Alex regularly takes a prescription medication designed to help his Alzheimer’s disease symptoms. A wealthy woman receives injections of a drug from her private physician. And a doctor moves to give someone a lethal injection before he’s stopped. We’re told of a man who was high on meth.

Other Negative Elements

This film declares that criminal organizations have corrupted many in the high seats of power in the U.S. criminal justice system (and in Washington, D.C.). We see several different people in authority corrupted by money and promises of power. And in the end, it’s suggested that murder may be the only way to solve that systemic disease.

Some might winkingly say that Liam Neeson is yet again playing a hero who has something, ahem, taken from him: this time his memory.

But that’s not accurate, really. In part, that’s because Neeson initially plays a true villain here, albeit someone with a conscience that’s starting to awaken. So when he’s not killing people in the film Memory, he’s straining to give heavy handed aid to the real hero before he loses himself to Alzheimer’s.

We’re shown child sex trafficking and gory murder in a crime-riddled world rotted to the core by graft and power. And it’s all part and parcel of a badly broken and horribly corrupted U.S. justice system.

Does that make for a stark social commentary? Maybe. But it also leaves you stewing in a fairly dark worldview. And no amount of orange soda and Gummy bears will make that depressing and often foul viewpoint any sweeter.

After spending more than two decades touring, directing, writing and producing for Christian theater and radio (most recently for Adventures in Odyssey, which he still contributes to), Bob joined the Plugged In staff to help us focus more heavily on video games. He is also one of our primary movie reviewers.

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‘Memory’ Review: Getting Too Old for This

In this action thriller, Liam Neeson plays an assassin struggling with Alzheimer’s disease. It’s not as interesting as it sounds.

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By Lena Wilson

The premise of “Memory,” the latest action thriller from the “Casino Royale” director Martin Campbell, is fascinating: Liam Neeson plays Alex Lewis, an aging assassin struggling with Alzheimer’s disease. As Alex seeks vengeance against a child trafficking operation in El Paso, he becomes increasingly unpredictable to the F.B.I. team tracking him, led by the contemplative agent Vincent Serra (Guy Pearce). Unique premise aside, “Memory” is an absurd slog. Its plot clichés and wooden performances are far more enduring than its narrative.

This is a remake of the 2005 Belgian film “The Memory of a Killer,” which was a critical success. “Memory,” then, is yet another embarrassing American adaptation. It plays as if the worst episodes of “Law and Order: Special Victims Unit” have all been processed in a blender and then stretched to nearly two hours long. The script, by Dario Scardapane, is threadbare in some parts and redundant in others. Its treatment of female characters is, at best, bleak. There are multiple pauses for eye roll-inducing genre fare, like a violent police interrogation or a shot of the grizzled Agent Serra staring out a window and drinking Scotch. The American characters are performed almost entirely by British or Australian actors, a choice that might be less noticeable in a film not set in Texas.

Neeson is fine and gets to hit his standard action movie beats, like growling out threats and bedding a much younger woman. But he’s also surprisingly underutilized — the film shifts focus to Agent Serra early on, leaving Alex and his disability to languish in the shadows. Whatever appeal this film had in its original iteration has been sapped out, leaving a story that, when not completely vexing, is either mind-numbing or hilarious by accident.

Memory Rated R for bullets in brains and damsels in distress. Running time: 1 hour 54 minutes. In theaters.

Lena Wilson is a project manager at The New York Times and a freelance writer covering film, TV, technology and lesbian culture. More about Lena Wilson

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Nicci French’s ‘The Memory Game’ to be adapted as a Dutch feature and miniseries

By Michael Rosser 2020-05-26T10:59:00+01:00

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Source: Wikimedia Commons

Sean French and Nicci Gerrard, aka Nicci French

UK crime novel The Memory Game is to be adapted as a Dutch-language feature film and will subsequently be released as a three-part miniseries.

The psychological thriller will be produced by Dutch FilmWorks and EndemolShine Scripted and marks the first of several novels written by Nicci French that are set to be adapted for the screen. DFW International will handle worldwide sales.

Nicci French is the pseudonym of husband-and-wife team Nicci Gerrard and Sean French, the son of late film critic Philip French; their books have sold more than 6 million copies in the Netherlands.

The Memory Game , first published in 1997, will be adapted by screenwriter Lex Passchier, who has written popular Dutch TV series including Fenna’s Law, The Oldenheim 12 and The Schouwendam 12 .

The story begins when the body of a 16-year-old girl is discovered buried in a garden, several years after her disappearance. The mystery centres on who killed the girl and the title – The Memory Game – refers to a childhood friend who undergoes counselling to unlock traumatic memories.

Production is set to begin in 2021 and a theatrical release is planned for 2022. The mini-series will feature additional scenes not seen in the film, with the feature running for two hours while the TV adaptation will comprise three 50-minute instalments. A director and cast have yet to be revealed.

On moving the action from the UK to the Netherlands, EndemolShine producer Gerd-Jan van Dalen said: “Although Nicci French’s books are set in the UK, their characters, dramatic events and psychological tension are so universal that they’ll remain fully intact even in a Dutch context.”

From 1997 to 2010, at least one Nicci French thriller was released per year, all as standalone novels.

Previous adaptations include 2002 feature Killing Me Softly , directed by Chen Kaige and starring Heather Graham and Joseph Fiennes; British TV movie’s The Safe House and Beneath The Skin ; and miniseries’ Secret Smile , starring David Tennant, and Without You , based on the 2009 novel What To Do When Someone Dies.

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The Memory Game (2022)

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Feud: Capote vs the Swans review – the starriest TV show in living memory forgets to be fun

It’s got Naomi Watts, Chloë Sevigny and Demi Moore, plus Tom Hollander as a deliciously evil Truman Capote. It’s got style to die for and supreme scandal. So how is the new series from king of camp Ryan Murphy such a dud?

W hat. The hell. Happened? You’ve got writer, raconteur and bon vivant Truman Capote. You’ve got his Swans, the impossibly rich and glamorous socialites of 50s, 60s and 70s Manhattan he befriended – which means you’ve got 50s, 60s and 70s Manhattan to play with too – and you’ve got the fabulous feud between them that erupted when he inexplicably, publicly, irretrievably betrayed them. You’ve got a cast to die for. Tom Hollander as Capote, Naomi Watts, Diane Lane, Chloë Sevigny and Calista Flockhart as the Swans (and Demi Moore as “peafowl at best” according to Capote, always as vicious as he could be charming, with Molly Ringwald and Treat Williams in the mix too). Gus Van Sant directs most of the eight episodes. And executive producing the whole thing (adapted by playwright Jon Robin Baitz from Laurence Leamer’s book Capote’s Women: A True Story of Love, Betrayal, and a Swan Song for an Era) is Ryan Murphy. His list of hits includes Nip/Tuck (Grey’s Anatomy on crack), Glee (Glee on crack), the American Crime Story anthology that gave us the bingeable but astute The People v OJ Simpson and The Assassination of Gianni Versace, 12 gloriously bananas seasons of American Horror Story (Murder House, Asylum, Coven, Freak Show – need I go on?) All of which have rightly established him as the high priest of camp television.

His latest endeavour, Feud: Capote vs the Swans, should be the perfect companion piece to yet another Murphy hit – 2017’s Feud: Bette and Joan, which had Susan Sarandon and Jessica Lange taking lumps out of each other and the scenery as they played out the lavishly baroque hatred between screen legends Davis and Crawford. And yet it is a dud. Albeit a dud that opens well, with Capote rushing to the rescue of his favourite Swan Babe Paley (Watts), who has discovered the latest of her serially unfaithful husband Bill’s (Williams) affairs via the mistress deliberately leaving menstrual bloodstains all over the marital bed and upholstery. Capote administers Valium, scotch and advice to turn her pain and Bill’s guilt into the acquisition of a Gauguin that Princess Margaret has her eye on. Soothed, she drifts off to sleep by his side.

Thereafter we are quickly introduced to the steely Slim Keith (Lane), who married up and far away from her origins in “Rustfuck, California”, the more blue-blooded CZ Guest (Sevigny) and wannabe Ann Woodward (Moore), whom Capote delights in tormenting as much as he fawns over the rest. But soon after that – and, crucially, too soon for us to have got the true measure of these relationships – we arrive at the moment in 1975 which ignites the feud that lasts until the writer’s death-by-drink a decade later.

Esquire magazine publishes an excerpt from his forthcoming “masterpiece” (never in fact finished) Answered Prayers. It is a barely fictionalised account of the Swans’ gilded lives and dirty secrets, including Paley’s sanguinary humiliation. They close ranks and freeze Capote out. And, really – that’s it. There is no major movement from then on. The timeline jumps around to try to obscure this. We flash back to Capote’s heyday, forward to an (imagined and ill-judged) meeting with James Baldwin, wherein Baldwin tells him, utterly incredibly, that his truth-telling piece about elite lives is “his slave revolt”, interspersing all with scenes between Capote and his various (frequently abusive) lovers.

But if ever there was a story that would benefit from simple linear telling, it’s this one. Without a holistic sense of the group and the nuances of their bonds it becomes impossible to judge whether their 10 years of isolating Capote was admirable sorority or terrible cruelty. The women – each of whose biographies would supply a lifetime’s worth of dramas and documentaries, especially once Flockhart turns up as Jackie O’s jealousy-wracked sister Lee Radziwill – are virtually indistinguishable from each other and exist only as satellites to Capote. Hollander is wonderful in the part (as are all the women in theirs, as far as they go). But they are working with so little. Ideas are floated but never developed. Maybe Capote published his piece because that’s what writers do – Graham Greene’s “splinter of ice in the heart” at play. Maybe misogyny, jealousy or both fuelled him. Maybe it was revenge for the way society shunned his mother (played by Jessica Lange as if she had just popped across from American Horror Story, which is fun but jarring). Maybe he saw that he was an exception to their otherwise intact homophobic prejudices. Maybe it was just a huge drunken mistake by a raging alcoholic as Capote was by then. But nothing is followed through, no conclusions drawn, no coherence provided.

Above all, it simply isn’t fun. Lange aside, it isn’t even camp. It’s cautious, dry, almost worthy in parts (the Swans are much given to anachronistic sounding soundbites about men’s power and women’s suffering) with a handful of good lines scattered about. Just enough to spike your flagging interest and keep hope alive that the Murphy magic will arrive. But it never does.

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The long game, common sense media reviewers.

Inspiring real-life story has racial slurs, mild violence.

A Lot or a Little?

What you will—and won't—find in this movie.

Offers a glimpse into the recent history of the se

Everyone should have the same opportunities and no

Characters experience emotional growth, including

The story is about a team of Mexican American teen

A character gets a small cut on his face after a g

One boy tells another that his nipples are showing

Language includes "bulls--t," "suck it up," "s--t,

Adults drink beer socially. One character drinks f

Parents need to know that The Long Game is based on the true story (originally told in the novel Mustang Miracle by Humberto G. Garcia) of five young Mexican American caddies who, against all odds, win the 1957 Texas State High School Golf Championship. Content is generally on the mild side. There…

Educational Value

Offers a glimpse into the recent history of the segregation of Latinos in the United States.

Positive Messages

Everyone should have the same opportunities and not be discriminated against because of their origin or skin color. Be kind. Friendship and loyalty are very important. Fight to achieve your dreams. Sometimes the biggest obstacles are in our own minds. It's important to conduct yourself with honor and dignity.

Positive Role Models

Characters experience emotional growth, including the adults. JB initially sees the boys as his opportunity to join the golf club but then realizes that he has the opportunity to teach them life lessons: to fight for their dreams, to be disciplined and have self-control, and that violence brings no good (on the contrary, honor and dignity generate respect). The boys learn to control their emotions and realize their potential. The characters learn to believe in others and in themselves. Pollo demonstrates in a humorous way that victimhood isn't an option.

Diverse Representations

The story is about a team of Mexican American teen golfers, and many other main characters are Latino, including Mexican-born Jay Hernandez, Cuban-born Oscar Nunez, and Cheech Marin, who's of Mexican descent. Director Julio Quintero is the son of Cubans, and the movie is based on a novel written by Mexican American writer Humberto G. Garcia. Most White characters are depicted as affluent and being disdainful of people of color. The film focuses on a men's golf team, and women are limited to supporting roles. But JB's wife, Lucy, and Joe's girlfriend, Daniela, show that they have their own agenda and aren't afraid to expose their views. Daniela wants to go to college and pursue a career as a writer, and Lucy shows up at the golf course in pants, something that wasn't socially accepted at the time. A secondary character is disabled and has a prosthetic leg. White and Latino characters use the racial slur "wetback" and "pocho," a derogatory term given to Mexicans who have difficulty speaking Spanish with fluency.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

A character gets a small cut on his face after a golf ball breaks his car window. A few street fights and scuffles, without major consequences. A truck chases the team members after a brawl in a bar in Mexico. A character breaks the windows of a diner using golf balls. A war veteran has nightmares that include explosions.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

One boy tells another that his nipples are showing. A married couple kiss, and he lifts her up in his arms. Another scene shows a husband and wife in bed, sleeping in their clothes. Two teens kiss on the lips and cheeks. One character urinates on a car, although nothing is seen.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Language includes "bulls--t," "suck it up," "s--t," "cocky," and "dumb." White and Latino characters use the racial slur "wetback" and "pocho," a derogatory term given to Mexicans who have difficulty speaking Spanish with fluency. Insults/swear words in Spanish include "chingado" ("damn"), "hijos de su madre" ("bastards"), and "cabrón" ("a--hole").

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Adults drink beer socially. One character drinks from a stainless steel hip flask, while another drinks directly from a bottle that looks like champagne. A scene in a bar shows a couple of drunk adults; underage characters order tequila but don't get to drink it.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that The Long Game is based on the true story (originally told in the novel Mustang Miracle by Humberto G. Garcia) of five young Mexican American caddies who, against all odds, win the 1957 Texas State High School Golf Championship. Content is generally on the mild side. There are a few street fights and scuffles without major consequences, windows are broken with golf balls (once leading to a small cut on someone's face), and a war veteran has nightmares that include explosions. One teen tells another that his nipples are showing, and there's kissing by both teens and a married couple. One character urinates on a car, and adults drink alcohol. Language includes "bulls--t," "suck it up," "s--t," "cocky," and "dumb," as well as insults in Spanish. White and Latino characters use the racial slur "wetback," as well as "pocho," a derogatory term given to Mexicans who have difficulty speaking Spanish with fluency. This coming-of-age sports story has many positive messages about equity and pursuing your dreams and offers a glimpse into the recent history of the segregation of Latinos in the United States. The cast and filmmakers are mostly Latino, including stars Jay Hernandez , Oscar Nunez , and Cheech Marin and director Julio Quintero. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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• Parents say (1)

Based on 1 parent review

Heart warming movie about golf team

What's the story.

Based on the novel Mustang Miracle by Humberto G. Garcia, THE LONG GAME is the true story of five young Mexican American caddies who, despite beginning with outdated, inferior equipment and no professional instruction, eventually went on to compete against wealthy, all-White teams and win the 1957 Texas State High School Golf Championship. In 1956, JB Peña ( Jay Hernandez ) and his wife move to the small town of Del Rio, Texas, partly for his job as a school superintendent but mostly to fulfill JB's dream of joining the prestigious, all-White Del Rio Country Club. But when JB is rejected because of his skin color, he meets with a group of young Latino golf caddies who work at the club and feels inspired by the handmade golf course they built to teach themselves golf. With little experience and even fewer resources, JB convinces the boys to start their own high school team, starting them all on a journey where they learn that it takes more than just golf skills to make history.

Is It Any Good?

This is a classic sports underdog story, and even though we know it's going to have a happy ending, the injustices that the team faces on the way to the state championship are still surprising. The mainstream narrative has often neglected stories about minorities, especially pioneers who paved the way for future generations. The Long Game is one of these stories. (And, in fact, most of the people on which the film is based are still living.)

Although there are a few clichéd moments, the characters have depth overall. JB does his best to play within the White rules, yet it's still not enough. The caddies are too Mexican for the United States and too American for Mexico. Special mention goes to Cheech Marin, who steals the show with his few appearances, which are full of humor and wisdom. If you liked A Million Miles Away or McFarland USA , you will likely enjoy this movie, too.

Talk to Your Kids About ...

Families can talk about the appeal of movies based on true stories. What can viewers learn from the facts behind The Long Game ?

How did the other teams underestimate the San Felipe Mustangs team? What are the dangers of stereotyping and discrimination?

Does seeing racism and prejudice portrayed in a historical setting make it any easier to watch? Why, or why not?

What messages do you think the film is hoping audiences will take away? What does this movie have in common with other underdog sports stories?

How do the characters in The Long Game demonstrate empathy , humility , integrity , and perseverance ? Why are those important character strengths ?

Movie Details

• In theaters : April 12, 2024
• Cast : Dennis Quaid , Jay Hernandez , Cheech Marin , Paulina Chávez
• Director : Julio Quintana
• Inclusion Information : Latino actors, Female actors
• Studios : Bonniedale , Mucho Mas Media
• Genre : Drama
• Topics : Sports and Martial Arts , Book Characters , Friendship , Great Boy Role Models , High School
• Character Strengths : Courage , Perseverance , Teamwork
• Run time : 106 minutes
• MPAA rating : PG
• MPAA explanation : language, racial slurs, thematic material, some violence and brief rude material
• Award : Common Sense Selection
• Last updated : April 12, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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‘The Last Of Us Part 2 Remastered’ review: depressing, but worth it

You'll never look at a golf club the same way again, but at least the lighting's nice

W hen The Last Of Us Part 2 launched in 2020, it was horrifying. That hasn’t changed in this month’s remaster. Part of that comes with the territory: it’s set in post-apocalyptic America, where a Cordyceps fungal infection has transformed most of the country into zombie-like infected. But when the most gut-wrenching moments of developer Naughty Dog ’s third-person shooter roll around, there are no manky mushrooms to blame – just stupid, impulsive humans.

• READ MORE: 15 huge games that we can’t wait to play in 2024

When we left off in 2013’s The Last Of Us , grizzled smuggler Joel had just trekked Ellie – a child immune to the infection – to a hospital halfway across the country, only to find out that she would be killed to create a cure. Rather than give her up, he chose to murder everyone there and whisk an unconscious Ellie off the operating table.

Though The Last Of Us Part 2 picks up five years later, it’s a decision that haunts both of the sequel’s protagonists. Ellie, now 19, is distant from Joel and feels like she has no purpose in the world. Meanwhile, new character Abby is the opposite – she belongs to the militaristic Washington Liberation Front (WLF), but is completely driven by her desire to kill Joel. When the two collide, it kicks off a gut-wrenching story about the trappings of revenge.

Abby and Ellie are villains in each other’s story, and both are fantastic to play. Most of the game takes place in the flooded city of Seattle, which is not only swarming with infected, but fought over by the WLF and religious cult of Seraphites. You’ll try to pick through most levels in stealth, but in the cases where being sneaky is impossible (or you’re a little heavy-footed), expect to get into some vicious shootouts.

Whether you’re fighting the living or infected, The Last Of Us Part 2 is visceral. Kill someone with Ellie’s knife and you’ll hear the blood choking their lungs. There’s a hollow pop when a neck snaps under Abby’s bulging biceps. If a friend finds their body, they’ll often cry out for them by name. A mushroom-covered Clicker can kill you in a single gory bite. These small, gritty details add up – this was one of the most immersive shooters around when it launched, and it still holds that title now.

However, the story falls short in places. Switching between Ellie and Abby causes issues with pacing, and there will be several times when you think you’re about to complete the game before being pulled into more.

Elsewhere, in the ongoing battle between the WLF and Seraphites, you’re often told that both sides are responsible for their cycle of violence. Yet the WLF’s crimes – torture, massacres – are rarely seen, and they’re humanised by Abby and the time she spends with friends in the organisation.

Meanwhile, the Seraphites are depicted as sadistic killers who sacrificially disembowel their enemies – and yes, that part’s shown. The only ones you get to know are exiles being hunted due to the cult’s transphobia. This lopsided framing undercuts the power of perspective and moral ambiguity that run through The Last Of Us Part 2 , which is a real shame as it explores those themes incredibly well when it focuses on Ellie and Abby.

However, this is a remaster – and many people will have already gone through all of this in 2020. It feels odd to be playing a remaster just four years after a game’s release and visually, improvements are minimal. Lighting and textures are a little softer but it’s nothing groundbreaking, though native 4K support and near-instant loading screens offer more marked upgrades.

Yet it’s the all-new No Return game mode that will turn the most heads. In this, you play as characters from the game (including Joel) through a set of randomised fights. In one run, you might have to kill waves of infected in an overrun resort. In another, you could still play the resort level, but this time it’s been taken over by WLF soldiers and your only goal is to stay alive while being hunted.

Complete one of these levels and you’ll move on to the next with currency to upgrade your skills and weapons. Lose, and all of your progress is deleted. Throw in challenges to unlock new characters for your next run, and there’s a decent game mode here – nothing that will blow the socks off fans of similar games like Hades , but a fantastic way of letting players jump into combat without replaying the entire campaign.

If you already own The Last Of Us Part 2 and you’re itching to give it another spin, these upgrades just about earn the £10 asking price. For those jumping in for the first time, it’s an enthralling sequel – but keep a box of tissues on hand.

The Last Of Us Part 2 Remastered launches on January 19 for PS5 . 

The Last Of Us Part 2 Remastered tells a difficult, emotional story with phenomenal character development. This remaster doesn’t make any groundbreaking changes, but better technical support and the neat addition of No Return make a decent case for upgrading.

• Incredible plot
• Combat feels fantastic
• No Return is simple, but lots of fun
• Underwhelming visual improvements
• Pacing can make the game drag at times
• Related Topics
• Naughty Dog
• Sony Interactive Entertainment
• The Last of Us Part II

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Prime Video's Fallout adaptation is a spot-on representation of the beloved game

Critics and fans seem to agree that, much like a mini nuke launched with a 100 per cent VATS hit chance on a Super Mutant's big head, the television adaptation of Fallout doesn't miss.

For gamers, Fallout is a big deal. They're hugely popular role-playing games set in an alternate retro future where technology and culture locked in on the '50s aesthetic. It's a world where science focused on atoms and nuclear power rather than miniaturised computer electronics. And it's a world that blew itself up in The Great War in the year 2077.

The games are set decades, or even centuries later, in the aftermath of this worldwide nuclear war, where Earth has become an irradiated wasteland. A select "lucky" (read: rich) few got to ride out the disaster in highly protected Vaults, where they were promised apple pie, verandahs, and the American Dream. Think Mad-Max meets I Love Lucy and you'll kind of get an idea of the Fallout vibe.

The show now brings all that the games had onto the screen for a whole new audience, and makes for some damn fine TV that fans, and even those who can't tell a Pip-Boy from a Radroach, can enjoy.

Here's why it's S.P.E.C.I.A.L! (that's a Fallout reference in case you didn't know).

There's nothing worse than an adaptation that doesn't look right (We're looking at you, Sonic design with the creepy teeth). But Fallout doesn't put a foot wrong aesthetically.

Things that could be considered Easter eggs for fans of the game don't even feel like Easter eggs, they're just how they should be. When a stimpak just more or less heals a stab wound, or when the exact hacking mini game from the games shows up while someone is trying to access a terminal, it doesn't read as fan service, it just feels right.

From the Vaults down to the stitching on the inside of the Power Armour, every prop, set, costume and location feels like it's been ripped straight from the games, and it all shines on screen to deliver that iconic retro-futuristic Fallout vibe.

2. Personality

The Fallout games may be set in a bleak, post-apocalyptic wasteland steeped in violence, but they're surprisingly funny.

They're camp, cheeky, and full of dark humour and satire, poking fun at the absurdities of capitalism and greed that managed to get the world blown up in the first place. The show captures this in spades.

Even the violence is funny. Bullets hit like punchlines, while the comic timing on a decapitation scene is masterful stuff.

Top tier comedians deliver some of the show's stand-out moments too: Chris Parnell's turn as a cyclops Overseer is hard to take your eye off; Matt Berry, a man who could read a microwave instruction booklet and make it hilarious, voices a friendly, organ-harvesting Mister Handy robot in a pitch-perfect bit of casting.

3. Expert hands

Credit must be given to the expert hands of all the crew involved.

That said, it feels like Westworld director Jonathan Nolan was absolutely the right person to help bring this show to life. Nolan was executive producer and directed the first three episodes, which are always crucial in setting a show's overall tone and feel. And no doubt his time with Westworld helped set him up for success here. Deserts? Check. Robots? Check. Dystopian sci-fi interpretation of classic Western themes? Check.

It's also clear that the team at Bethesda Game Studios, helmed by famed Game Director Todd Howard, has kept a gulper throat full of fingers in this pie, making sure it all remained game-accurate and fit into the existing lore. Clearly, it's been a successful creative partnership.

Of course, behind-the-scenes talent is wasted if the actors can't pull off their roles. Not a problem for the three leads of Fallout.

Walton Goggins' turn as American hero Cooper Howard-turned-bounty-hunting-Ghoul is electrifying. He fills his scenes with a Clint Eastwood-esque, "Do you feel lucky, punk?", energy that puts you on edge for each inevitable quick draw.

Ella Purnell nails the wide-eyed, naive, do-gooder Lucy McLean. Her main story quest to find her Dad, à la Fallout 3, confidently leads us on her descent from her American Dream life in the Vault, out to a world where drinking irradiated water from a toilet is going to be a highlight of your day.

Aaron Moten's Maximus hits all the right notes in his journey to be a hero, a shining Knight in Power Armour, a wannabe stereotypical good guy in a world where being "good" usually has to take a back seat to just being alive.

And, of course, there's the real star, Dogmeat. Ok, it's not THAT Dogmeat, she's CX404, but she's still a very good girl. Yes, she is.

5. I Don't Want to Set the World on Fire

If you read that heading and didn't hear the song starting to play in your head, then I feel bad for you, son.

The use of music in the Fallout games has been one of its most defining traits, and it's a trait the show doesn't skimp on.

The crackle of those cheery old-timey tunes as horrible acts of hyper-violence play out across the wasteland is paid due service here, with many of the most iconic songs used in the games making for perfectly timed needle drops.

Even the games' official soundtrack gets used to good effect.

6. Amazon money

Shows like this ain't cheap, and it's clear this has had the full support of that Amazon coin behind it. From the impressive sets of the Vaults and towns to the effects so good you can barely tell they're effects, it looks as good as any big budget film.

According to Variety  the first season cost US$153 million (AU$238 million) to make, which puts it at almost US$20 million (AU$31 million) per episode. For reference, most Game Of Thrones episodes averaged around US$6 Million.

It's an insane amount of money, but it shows.

7. Leave the games out of it

The Fallout games were always going to be perfect for adapting. They're classic, sprawling Bethesda-style role playing games which, for those who don't play games, just means they're games where you get spit out into an open world and left to do whatever you want.

This isn't like The Last of Us — where the show quite faithfully retells the story of the games for a new audience, but leaves those of us who've played it seeing every major plot coming from a mile away. (By the way, if you haven't played The Last of Us 2, you ain't ready for Season 2).

It isn't even like Halo, where they felt the need to rewrite much of the universe and timeline to make it translate on screen, much to the chagrin of die-hard fans.

Instead, just like the sandbox the games let us play in, Fallout the series gives the creatives here that same sandbox to tell their own stories in. Sure, it has a well-established universe with timelines, lore and characters that the show faithfully adheres to, but it's not forced into retelling any specific story.

It can create new characters, show off new Vaults, and explore new areas of the Universe, all while respecting the source material and adding to it, leaving us with one of the best game adaptations we've seen to date.

It's definitely just a little bit special.

Fallout is streaming now on Prime Video.

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‘The Long Game’ Review: Young Latinos Aim to Earn Respect and Victory on the Golf Course in Uplifting Period Drama

Jay Hernandez and Dennis Quaid head the cast of an earnest, fact-based indie about the improbable achievements of underdogs in 1950s Texas.

By Joe Leydon

Film Critic

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Winner of an audience award at the 2023 SXSW film fest, “ The Long Game ” is an utterly predictable yet thoroughly engaging period drama. Set in 1950s Texas, the film focuses on the true-life story of five Mexican-American youths who triumph against all odds while overcoming adversity, prejudice and periodic self-doubts in their pursuit of a Texas State High School Golf Championship trophy.  

Popular on Variety

But when JB notices that the five caddies have developed a talent for the game while competing at a one-hole course they’ve improvised for themselves on an unattended stretch of public land, he figures that, hey, maybe what San Filipe High really needs is a student golf team, the San Felipe Mustangs. And he should be their coach — with a little help from Frank.

But he and his fine cast infuse even the hokiest moments in “The Long Game” with a disarming sincerity, so that, while there’s never any serious doubt about what will happen when the qualifying series of golf tournaments concludes for the Mustangs, the young underdogs — and their grown-up allies — consistently generate rooting interest on and off the fairway.

Quintana, who started his career by working with Terrence Malick on “The Tree of Life” and “To the Wonder,” gets splendid work from DP Alex Quintana, his brother, and production designer Carlos Osorio, both of whom greatly enhance the film’s period flavor (which is strong enough to withstand a few minor intrusive anachronisms).

Julian Works is the standout among the Mustangs, to a large degree because his character is the only one of the youths who has more than two dimensions. (The other Latino teens are equally well-cast, but they are given much less to do.) To that end, it helps that Works’ Joe has scenes where he interacts with an angrily disapproving father (Jimmy Gonzalez), and romances a lovely classmate (a beguiling Paulina Chávez) with literary ambitions.

Hernandez is low-key and credible as JB develops mentor-pupil relationships with the Mustangs, and maintains a loving and supportive rapport with his wife Lucy (Jaina Lee Ortiz). Quaid strikes the perfect balance of twinkly-eyed mischievousness and grizzled seriousness, with a side order of wartime trauma, while Marin skillfully offsets his welcome comic relief as Pollo notes that, if you’re not white, fighting for your country does not guarantee acceptance in a segregated postwar society. Maybe you’ll have to win a few golf tournaments first.

Reviewed online, April 9, 2024. In SXSW. MPA Rating: PG. Running time: 112 MIN.

• Production: A Mucho Mas Media Releasing release and presentation, in association with Fifth Season, of a Mucho Mas Media, Bonniedale production, in association with Jaguar Bite. Producers: Javier Chapa, Ben Howard, Dennis Quaid, Laura Quaid, Marla Quintana. Executive producers: Jay Hernandez, Phillip Braun, Jason Gerber, Christian Sosa, John Williams, Veronica B. Jones, Jennifer Kuczaj, Simon Wise, Colleen Barshop, Vincent Cordero, Simón Beltrán Echeverri, Juan Pablo Solano Vergara, Carlos Osorio, Humberto G. Garcia, Jesse Mandujano, Julio M. Quintana, Ricky Joshi, Brian Eddy, Jeff Grossberg, Jack Shemtov, Matthew Dwyer, David E. Campbell, Michael Hollingsworth, Tim Mahler, Jeff Moseley, Carter Pope.
• Crew: Director: Julio Quintana. Screenplay: Julio Quintana, Jennifer C. Stetson, Paco Farias, based on the book “Mustang Miracle” by Humberto G. Garcia. Camera: Alex Quintana. Editor: James K. Crouch. Music: Hanan Townshend. 
• With: With: Jay Hernandez, Dennis Quaid, Cheech Marin, Julian Works, Jaina Lee Ortiz, Brett Cullen, Oscar Nunez, Richard Robichaux, Paulina Chavez. (English, Spanish dialogue)

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