TORONTO — Fans lined up before the game, waiting patiently for the chance to take a selfie with trophies that commemorated the back-to-back World Series championships.
Dodger Stadium is not the only place you can do this. The trophies were from 1992 and 1993, and they honored the Toronto Blue Jays.
The Dodgers matched that back-to-back feat over the past two years, including a classic Game 7 victory in Toronto in last year’s World Series, and returned here Monday to a noise pit packed with fans primed to boo, and to urge their team to exact vengeance on the evil mercenaries from America.
On this night, the mercenaries prevailed, in a pummeling so relentless and a silencing so rapid that a three-peat appeared all but inevitable: Dodgers 14, Blue Jays 2.
Dalton Rushing celebrates with teammates in the dugout after hitting his second home run of the game in the eighth inning of a 14-2 win over Toronto on Monday.
(Mark Blinch / Getty Images)
“These fans, sadly, didn’t want to see us come to town,” Dodgers catcher Dalton Rushing said, “and rightfully so, after what we did tonight.”
Those fans did want to see the Dodgers, but they did not want to see this. On a night the Dodgers fielded a lineup without Mookie Betts and Will Smith, the team hit five home runs — two by Rushing — and scored in every inning but the second and ninth. Of the six Toronto pitchers, the only one to hold the Dodgers scoreless was catcher Tyler Heineman.
To the Dodgers, well, it was another day on the job, if a bit louder than usual at the start. They had a game to win on the long road toward October and, as they often do, they won.
In Toronto, however, pitcher Kevin Gausman said, “It feels like we’re getting ready for Game 8.” The fans mercilessly booed Shohei Ohtani, who turned down $700 million from the Blue Jays to take $700 million from the Dodgers, and outfielder Kyle Tucker, who turned down $350 million (over 10 years) from the Blue Jays to take $240 million (over four years) from the Dodgers.
They even booed Justin Wrobleski, the Dodgers’ starting pitcher, and Miguel Rojas, usually an infielder but on Monday the Dodgers’ final pitcher. Wrobleski, who won his seventh major league game Monday, said he expected the boos.
“It was fun,” he said. “They care about baseball here. It’s a fun environment. If people weren’t a little upset and a little, I’d say, passionate about what happened last year in the World Series, maybe they’re not real fans.”
The boos could have been a sign of respect, or of a long memory: about the ninth most-memorable part of Game 7 was Wrobleski hitting Toronto infielder Andrés Gimenez, then shouting language so profane Wrobleski later said he apologized to his mother for using it. You cannot be a nobody if you can get the benches to clear in Game 7.
“They wouldn’t boo me,” Wrobleski said, “if they didn’t know who I was.”
Dodgers pitcher Justin Wrobleski delivers during the first inning against the Blue Jays on Monday.
(Mark Blinch / Getty Images)
The Dodgers led 4-1, then 5-1, then 6-1, then 9-1, and that was before the sixth inning was done.
“When you score a lot of runs, you’re going to take the crowd out of it,” Dodgers first baseman Freddie Freeman said.
“I think the media and everyone else was more hyped up. It’s a new team, new year. We’ve got different guys on our team too. But we obviously understand it’s a World Series matchup.”
The Blue Jays were different: infielder Bo Bichette is in New York, catcher Alejandro Kirk is on the injured list, infielder-outfielder Addison Barger is hurt, and Toronto is borrowing a page from the Dodgers’ playbook with a rotation full of hurting pitchers: Shane Bieber, José Berrios, Cody Ponce and phenom Trey Yesavage all are on the injured list, and Max Scherzer left after two innings Monday because of tendinitis in his throwing arm.
The Dodgers are 8-2. The only defending World Series champion to get off to a better 10-game start in the last 100 years: last year’s Dodgers, at 9-1.
Last year worked out just fine. This is April, and no one is facing elimination any time soon. That explains how Roberts rated his anxiety level on Monday.
“It was probably a 10 in October and probably a one tonight,” he said.
Monday’s game offered yet another example of how the team that supposedly is ruining baseball is fattening the wallets of the league’s other 29 teams. The Dodgers have led the league in road attendance in each of Ohtani’s two previous seasons and almost certainly will do so again this season — and a fair number of those ticket buyers are Dodgers fans following their team here, there and everywhere.
In a 10-minute pregame walk around the main concourse, I saw plenty of fans in Dodgers jerseys: not only with the names of Ohtani, Betts and Freeman but with the names of Rojas, Kiké Hernández and Roki Sasaki.
As soon as the third inning, a “Let’s Go Dodgers” chant echoed through the stadium.
The Blue Jays are off to a 4-6 start, including series losses to the Colorado Rockies and Chicago White Sox. The Jays should be good again, and soon. In the meantime, they are offering 77-cent hot dogs Tuesday.
For all the Dodgers fans here, that’s quite the trip: a rout that silenced a hostile crowd one day, hot dogs valued at 55 cents in U.S. currency the next. The fruits of victory, as Tommy Lasorda might have said, rarely are so cheap and filling.
Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.
This is another strong week for new releases. By now you have likely heard something about “The Drama,” which has become inescapable thanks to the tireless promotion of its two stars, Zendaya and Robert Pattinson.
In a movie written and directed by Norwegian provocateur Kristoffer Borgli (“Dream Scenario”), the pair play Emma and Charlie, an engaged couple who find their wedding week thrown into disarray by the revelation of a deep secret from the bride-to-be.
Robert Pattinson and Zendaya in the movie “The Drama.”
(A24)
As Amy Nicholson put it in her review, “To another screenwriter, ‘The Drama’ would be an intimate study and a more emotionally wrenching film. But Borgli forces us to parse the mushy stuff from the mess and analyze the pending nuptials as an impersonal problem: What comes after a public shaming for the guilty and the inquisitors? That’s one of the most important (and unresolved) questions of the modern era, so I’ll forgive the filmmaker for being no more interested in writing Emma and Charlie as complex human beings than if they were character names in a math quiz about two people on two trains speeding toward a crash.”
Meanwhile, Tim Grierson spoke to Shira Small, the folk artist whose sole 1974 album features a song heard in an early scene of “The Drama.” Small, a delightful interview, goes into the music career she left behind a long time ago — one which may be reigniting now thanks to the movie.
Also opening in Los Angeles this week is Israeli filmmaker Nadav Lapid’s “Yes,” a guaranteed conversation-starter. Ariel Bronz stars as a musician who, in the aftermath of the Oct. 7 attacks, decides to say yes to composing a vicious new political anthem..
Reviewing the film, Joshua Rothkopf said, “It’s a movie about a citizenry at war with itself, hoping to keep the plates spinning for one more night. You watch it and think how easy it would be to envision an American remake — and wonder, too, if a filmmaker like Lapid even exists here.”
One of my favorite films from SXSW 2025, “Fantasy Life,” is finally coming to theaters. Written and directed Matthew Shear, the movie is an affectionate nod to the chatty dramedies of Noah Baumbach (some of which Shear has acted in). Here he plays Sam, a troubled law school dropout who takes a job looking after the children of a Brooklyn couple (Amanda Peet and Alessandro Nivola) and finds himself in an emotional affair with the wife.
“Fantasy Life” actor-writer-director Matthew Shear and star Amanda Peet bond in New York.
(Justin Jun Lee / For The Times)
I recently spoke to Shear and Peet about their collaboration on the film. Peet’s character in the film is also an actor and, though much of the film’s anxieties felt familiar to her, one scene in particular is drawn from Peet’s own experience: She is often mistaken in public for Lake Bell, including once on a red carpet.
“It’s a weird thing because you’re like, what do I do here?” said Peet with a laugh. “What’s the least douchey way to get out of this?”
The Black Pack’s resistance humor
Robert Townsend in the 1987 movie “Hollywood Shuffle.”
(Samuel Goldwyn Company / Photofest)
Curated around a new book by Artel Great, the UCLA Film and Television Archive is launching the series “The Black Pack: Rewriting American Comedy,” to spotlight a moment in the 1980s and ’90s when a small group of Black creators reached the very heights of Hollywood.
Eddie Murphy, Paul Mooney, Robert Townsend, Keenan Ivory Wayans and Arsenio Hall were friends and collaborators who, from 1987 to 1994, created the work showcased in the series. The Black Pack is a name they gave to themselves, partly in response to the John Hughes-affiliated Brat Pack.
Things begin tonight with a 35mm screening of Townsend’s essential 1987 satire “Hollywood Shuffle.” Great will be there for an introduction and a Q&A with cast member Anne-Marie Johnson and Spring Mooney, daughter of late actor Paul Mooney, who also appeared in the movie.
The cast of “In Living Color,” to be celebrated as part of the UCLA screening series “The Black Pack.”
(Fox / Photofest)
Other events include an evening of episodes of Wayans’ sketch comedy series “In Living Color,” 1988’s “Coming to America,” starring Murphy and Hall, a 35mm screening of Townsend’s 1991 “The Five Heartbeats” and a 35mm screening of 1989’s “Harlem Nights,” the only movie starring, directed, written and produced by Murphy, then at the height of his cultural capital.
This series is a terrific example of why smart programming matters. Here is a group of films (and a TV show) that might seem only related in a vague way, but when put together under a specific theme or idea, they are suddenly transformed into something revelatory.
Each evening of the series is designed to make the case for a different aspect of the Black Pack’s work and influence. The series as a whole puts forward a larger concept Great has coined a term for.
“I’m arguing through the series that the Black Pack’s cultural material is connected to a longstanding tradition that I call Black resistance humor,” says Great, now an associate professor at San Francisco State University, in an interview this week. “This idea of Black resistance humor is really a cultural practice where Black cultural workers are using political wit, irony, satire, parody, absurdity to challenge corrupt authority, to give voice to racial trauma and also attach themselves to re-imagining what freedom can really look like.”
From left, Arsenio Hall, Eddie Murphy, James Earl Jones and Madge Sinclair in the movie “Coming to America.”
(Paramount / Photofest)
There are plans for Black Pack programs in other cities, including Atlanta, San Francisco and Chicago, bringing this fresh look at their specific moment to venues around the country.
“I’m hopeful that the series will allow communities and audiences to see the Black Pack as cultural strategists who are using this idea of Black resistance humor to address very serious issues of power, identity and race,” says Great. “But also as a way of thinking, as a way of seeing and as a way of building alternative systems. Because that’s what they were able to do.”
Points of interest
‘The Birthday Party’ in 35mm
Actor Robert Shaw, left, with director William Friedkin on the set of “The Birthday Party” in 1968.
(Larry Ellis / Getty Images)
As part of its series celebrating the legacy of actor Robert Shaw, the Academy Museum will screen 1968’s “The Birthday Party” in 35mm on Sunday. One of the earliest features directed by William Friedkin (who would go on to such classics as “The Exorcist” and “To Live and Die in L.A.”), the film’s screenplay was written by Harold Pinter, adapting his own play. Shaw, Friedkin and Pinter make for a combustible intensity.
Shaw plays Stanley, the lone boarder at a seaside inn. When two mysterious men (Dandy Nichols and Sydney Tafler) arrive, they engineer a party for Stanley that becomes increasingly ominous.
In his original review, Charles Champlin lauded Shaw, saying he gives “one of the total and totally engrossing movie performances,” adding that Friedkin “as a director is everything a dramatist, and an audience, could want. The sense of loving care and artistic sureness which characterizes every aspect of the movie is extremely tonic. Pinter may be an acquired taste, but it is easy to acquire.”
‘He Got Game’ in 35mm
Denzel Washington in 1998’s “He Got Game.”
(David Lee / Touchstone Pictures)
Spike Lee’s prolific career is now studded with movies that maybe didn’t quite get their due in their day but deserve renewed attention. Screening in 35mm on Sunday at Brain Dead Studios is Lee’s 1998 “He Got Game,” which is just that kind of movie: stuffed with ideas and ambitions even if it doesn’t totally all come together for everyone. I particularly like his use of composer Aaron Copland’s music, which gives many of the images an epic quality they might not otherwise fully achieve, challenging preconceived notions of what can be thought of as Americana.
The movie stars a particularly electric Denzel Washington as Jake Shuttlesworth, a once-promising basketball player whose life took a turn. Now he’s in prison. His son, Jesus (played by NBA star Ray Allen), is a promising prospect and Jake is given an offer of a reduced sentence if he can convince his son to attend a certain college. The mixture of two of Lee’s own personal preoccupations, basketball and family, makes for a potent combination.
Reviewing the movie when it was released, Kenneth Turan wrote, “Given that writer-director Lee is one of the most visible of the New York Knicks’ celebrity fans, what’s surprising is not that he made a film about the sport he cares so much about but that he waited so long. … Though ‘He Got Game’ is periodically awkward and unruly, it benefits, as many of Lee’s films do, from the director’s determination to connect with the troublesome issues of the real world. Too few American directors work with Lee’s kind of social immediacy, and that makes his films, flawed and didactic though they sometimes are, essential viewing.”
Harmony Korine’s ‘Gummo’
Jacob Reynold, left, and Nick Sutton in Harmony Korine’s ‘Gummo’
(Criterion Collection)
Harmony Korine’s first feature as director, 1997’s “Gummo,” will screen at Vidiots on Monday. The event is co-presented by the Cinegogue, a group perhaps best known for their limited-edition movie-themed clothing drops, but who describe their mission thusly: “Our goal: make movies cool again through concert-like experiences and fanfare. … Because even though a movie might end, cinema is forever.” (And that’s a sentiment we here can get behind.)
The film finds Korine attempting to bring elements of experimental film and video to a nominally more mainstream context. It’s both confrontational and playful. Using a collage-like structure, the film follows a few kids as they make their way around their small town in Ohio after a tornado. Mostly featuring non-actors, the cast also includes Linda Manz and Chloë Sevigny, who is also credited as the film’s costume designer.
Writing about “Gummo” and Korine’s subsequent “julien donkey-boy,” Kevin Thomas made special note of “the intensity of Korine’s compassion for individuals who have so little going for them and so much going against them, yet at times are capable of experiencing an exhilarating freedom of spirit.”
Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.
In another busy week for new releases, the horror-comedy “Forbidden Fruits” is among the standouts. Having just premiered at SXSW, it is the feature debut for director Meredith Alloway, who co-wrote the screenplay with Lily Houghton, adapting Houghton’s play. Diablo Cody is a producer on the film, and the movie shares a sensibility with her beloved “Jennifer’s Body.”
Set at a Texas shopping mall, the plot follows a group of female employees at a boutique who are secretly a coven of witches after hours. They bring a new employee into their fold. Lili Reinhart, Lola Tung, Victoria Pedretti and Alexandra Shipp star.
Alexandra Shipp, from left, Victoria Pedretti, Lili Reinhart and Lola Tung in the movie “Forbidden Fruits.”
(Sabrina Lantos / Independent Film Co. / Shudder)
Though Katie Walsh gave the film a mixed review, declaring it “essentially the fast fashion of girly pop horror,” the film casts a spell when it is working.
Pedretti in particular is a standout, and Malia Mendez spoke to her about the role. “It asks a lot of people to try to step into a world like this one,” Pedretti said of the film’s knowing, campy style. “And as nerve-racking as it may be to take that big swing, you gotta take the big swing.”
Also opening in L.A. this week is Sofia Coppola’s “Marc by Sofia.” The director’s first documentary, it’s more a snapshot than a definitive portrait of the life and career of her longtime friend, fashion designer Marc Jacobs, as he prepares for his spring 2024 collection. While not as in-depth or revealing as one would hope, the film has a warmth and charm all its own. And anyone feeling nostalgic for ’90s New York after watching the recent TV series “Love Story” will get a buzz from this too.
Larry Karaszewski on ‘Last Summer’
Richard Thomas, left, Barbara Hershey and Bruce Davison in the movie “Last Summer.”
(Warner Archive)
The American Cinematheque at the Aero Theatre on Sunday will host the world premiere of a new restoration of the theatrical version of 1969’s “Last Summer,” directed by Frank Perry from a screenplay by Eleanor Perry. Actors Barbara Hershey and Bruce Davison will be there for a Q&A moderated by screenwriter Larry Karaszewski.
“This is one of the holy grails for movie nerds,” says Karaszewski in a recent phone interview. The restoration happened in no small part thanks to his persistent and vocal fandom of the film. Best known for his work with writing partner Scott Alexander (including “Dolemite Is My Name” and “Ed Wood”) and currently a governor in the academy’s writer’s branch, Karaszewski is also a pillar of the repertory scene around Los Angeles, frequently moderating Q&As and an avid moviegoer.
Richard Thomas, left, Barbara Hershey and Bruce Davison in the movie “Last Summer.”
(Warner Archive)
“Last Summer” follows three teenagers (Hershey, Davison and Richard Thomas) whiling away the summer at the beach on New York’s Fire Island. As a certain psychosexual energy escalates among them, winding each other up, they turn their attention to a younger girl (Catherine Burns) and torment her in increasingly sadistic ways.
For her performance, Burns was nominated for an Oscar for supporting actress, while Hershey briefly changed her last name to Seagull after a bird was accidentally injured on set.
In his original July 1969 review, The Times’ Charles Champlin called “Last Summer” “a compelling and disturbing movie, with moments of quite extraordinary power and poignance.”
“This was a movie that people who saw it were just fascinated by,” says Karaszewski. “Even though it came out in ’69, it feels like an important ’70s-style movie, a really rough youth film that used the new freedom that cinema had at that time. But you couldn’t see it.”
Director Frank Perry and screenwriter Eleanor Perry during production of “Last Summer.”
(Warner Archive)
Over time, the rights to the movie changed hands, elements went missing and it became a rarity. Due to an intense rape scene, the movie was also briefly released to some theaters with an X-rating, though Karaszewski says the differences to the R-rated version are minimal — a matter of a few frames and a single word. Released on VHS, “Last Summer” has never been on DVD or Blu-ray. (The Warner Archive label will release a disc of the new restoration later this year.) An edited TV version of the film has circulated, and the last few times “Last Summer” has shown in Los Angeles, it has been from a print discovered at an archive in Australia.
Karaszewski has long had a fascination with the film, one that was only fueled by its inaccessibility.
“It became famous as just, ‘Oh, that’s the movie Larry champions, that’s the movie that Larry won’t stop talking about,’ ” he says. Karaszewski jokes that he won’t know what to do with himself now that his longtime obsession with seeing the film revived has been fulfilled.
“I’ve been championing it so long,” he says. “It could have been just like, ‘Oh, Larry’s a little crazy. He loves this movie.’ And that would’ve been fine too. I’m a person that feels like every movie should have its day in the spotlight.”
The complete Akira Kurosawa in 35mm
An image from Akira Kurosawa’s “Ran.”
(Rialto Pictures)
On Saturday, the Academy Museum launches “Darkness and Humanity: The Complete Akira Kurosawa,” a comprehensive retrospective of the Japanese filmmaker’s 30 existing features, all of which will screen in 35mm. The series opens with two of Kurosawa’s best-known films, “Seven Samurai” and “Rashomon.” Other highlights include “Throne of Blood,” “Ikiru,” “Hidden Fortress,” “Stray Dog,” “High and Low,” “Dreams” and “Ran.” This is a rare opportunity to take in the true breadth of Kurosawa’s work.
Writing about the filmmaker in 2009 to commemorate the centennial of his birth, Dennis Lim said, “The wonder of Akira Kurosawa’s 50-year career is that it was at once remarkably varied and satisfyingly coherent …. But the constant in his films was the principle of heroism, not as a vaporous ideal but a way of life, an awareness of individual agency and personal responsibility in a world that does not always reward or even allow heroic behavior.”
Toshiro Mifune in Akira Kurosawa’s “Yojimbo.”
(Janus Films)
Kurosawa’s influence on other filmmakers around the world has been widely acknowledged. Upon the news of Kurosawa’s death, Steven Spielberg proclaimed him “the visual Shakespeare of our time” and added, “I am deeply saddened by Kurosawa’s death. But what encourages me is that he … is the only director who right until the end of his life continued to make films that were recognized as, or will be recognized as, classics.”
In 1985, while in Los Angeles for a screening of his film “Ran,” Kurosawa described his own work by saying, “I just make up stories and film them. When I am lucky, the stories have a lifelike quality that makes them appealing to people and the film is successful.”
Points of interest
‘To Sleep With Anger’ in 35mm
Actor Danny Glover and director Charles Burnett during production of “To Sleep With Anger.”
(Samuel Goldwyn Company / Photofest)
To celebrate the release of Ashley Clark’s new book “The World of Black Film: A Journey Through Cinematic Blackness in 100 Films,” the UCLA Film and Television Archive will screen Charles Burnett’s 1990 drama “To Sleep With Anger” in 35mm at the Billy Wilder Theater on Sunday. Clark will be there for a book signing, and Burnett will join him for a Q&A.
Recently included as part of The Times’ ranked list of the 101 best Los Angeles movies, “Anger” stars Danny Glover in a galvanizing performance as Harry, an old friend from the South who arrives for an unexpected visit to a family in South Central L.A., upending their lives.
In his book, Clark describes the film as “a singular work with a distinct yet tantalizingly hard-to-pin-down performance from Danny Glover, who, as the inscrutable Harry, flickers between menace and charm, using all of his six-foot-four-inch stature to dominate the frame.”
In a 1990 Times story by David Wallace, Burnett spoke about how the film was meant to evoke a sense of Black cultural history, saying, “I didn’t appreciate the [storytelling] tradition until it disappeared. I had a sense of who I was because of that experience. … This film was an attempt to go back and deal with the past. To tell a story about a story.”
Added Glover: “I think there is a little of Harry in all of us. We’re constantly in conflict between the good side and the other. Harry’s involvement with the dark side is not that uncommon.”
Clark will also appear at the Academy Museum on Monday for the world premiere of Ngozi Onwurah’s restored 1995 film “Welcome II the Terrordome.”
‘Thank You for Smoking’
Aaron Eckhart in the movie “Thank You for Smoking.”
(Dale Robinette / Fox Searchlight Pictures)
On Saturday, Vidiots will host a 20th anniversary screening of Jason Reitman’s debut feature “Thank You for Smoking” in 35mm, with the filmmaker in attendance for a Q&A. Adapted by Reitman from a novel by Christopher Buckley, the film is media satire that follows the misadventures of a lobbyist (Aaron Eckhart) for Big Tobacco. The cast also includes Katie Holmes, Robert Duvall, William H. Macy and Sam Elliott.
In his original review, Kenneth Turan called the movie “that rare film that actually has a sense of humor,” before adding, “Reitman’s script and direction retain the novel’s rhythms and black comic sensibility while at the same time eliminating and/or rearranging large chunks of its plot. He’s also figured out a way to make the story more conventionally audience-friendly without losing the extraordinary bite that made the book so successful.”
I recall an afternoon spent on the Fox lot talking to Reitman and Buckley together for a piece I wrote in 2006. The political climate that the film examines, one of extreme partisanship, has only heightened in the years since.
“The compliment the book always got,” said Reitman at the time, “which I thought was wonderful, was Democrats always thought it was theirs and Republicans always thought it was theirs. Like all good satire, the book was a mirror. … It doesn’t feel like it’s coming from one way or the other. It’s ridiculing both, and hopefully the film does the same thing.”
“undertone,” a muted, personal and static microbudget horror debut by Ian Tuason, takes place in the writer-director’s actual childhood home where he tended to both of his parents before they died. Both hospice and inspiration, it’s a stifling place decorated with floral wallpaper and crucifixes. The pain and exhaustion and grief are so real and oppressive, the camera never dares set a foot outside.
Upstairs, Evy (Nina Kiri), watches over her own terminally ill mother (Michèle Duquet). Tuason funneled his emotional gloom into this movie; Evy co-hosts a horror podcast with her overseas best friend Justin (voiced by Adam DiMarco). “This is the only thing keeping me sane right now,” she says. They’re words she’ll regret within the week.
Kiri and DiMarco have the comfortable, convincing chemistry of two old pals who have done a show for a while. One snippet seems to be an episode on Elisa Lam, the real-life tourist found dead in the rooftop water tank of Los Angeles’ Cecil Hotel. There’s also a reference to a website with a red-faced ghoul who hypnotizes victims into cutting off their ears. The latter may be Tuason seeding his idea for a sequel.
Here the central story is that Justin, who lives in London, has received an email with 10 audio files recorded by a couple named Mike and Jessa (Jeff Yung and Keana Lyn Bastidas) who are trying to understand what she’s saying in her sleep. The sender is unknown. (Possibly an evil spirit hoping for the exposure of a mattress ad?) Justin, the believer, is instantly alarmed by how these eerie tapes escalate from cute banter to ghostly crying babies and backward incantations. Evy is the skeptic who dismisses the noises as either an online hoax or bad plumbing.
Due to the time zone differential, Evy and Justin record their show just before he heads out to work in the morning, which for her is 3 a.m. Most of the movie takes place in that witching-hour window, an airlessly silent time where an at-home podcaster doesn’t worry about being interrupted by a leaf blower, an ice cream truck or a dog. Sound-designed by David Gertsman, “undertone” is so quiet that a tea kettle sounds like a fire alarm. Story-wise, it’s equally inert. One of the biggest action shots in the first hour comes when — eek! — a sink turns on.
I’d love to understand why horror films that I find excruciatingly dull give others the heebie-jeebies. My working theory is that they tap into audiences with a preexisting suspicion that the world is wicked — they prove paranoia to be well-founded. My mental default is that the world is neutral-good, and that may be why I prefer movies with active villains scaring me out of my complacency. I spent “Paranormal Activity” and “Skinamarink” restlessly admiring the production design; here, my main thrill came from the soundscape, like when a vibrating cellphone made my chair rattle like it was a tractor, or a noise that can only be described as death-rattle ASMR.
When Evy slips her on headphones, she’s so focused making sense of the latest scary tape, playing it forward, reversed and slowed-down, that she’s oblivious to the bumps in the night in her own house, upstairs near her comatose mother’s bedroom. I suspect Tuason deeply relates to Evy, to the disassociation of living with death every day, and uses her resistance to explore denial. She refuses to admit that the supernatural is real, even as she repeatedly takes a break to steady herself and, as she puts it, “get back into character.” Her stifled panic makes it obvious that fear is taking over.
The screenplay also has a passing reference to Evy’s useless, off-screen boyfriend Darren (voiced by Ryan Turner). Their miserable dynamic is compelling but overall comes off like a plot point Tuason stuffed in his pocket and never got around to using. Our one peek into it comes when Darren phones Evy to pressure her to ditch her mom and come to a party. He claims he’s throwing a kegger to cheer her up. (A frozen lasagna on the doorstep would be better, dude.)
Evy does reluctantly leave the house — we don’t follow her there — and that one moment says as much about crossed-signals communication as anything else in the movie. It’s bullseye-accurate about how isolating it is to lose a parent earlier than your peers.
The film is so committed to its rigors — the two-person cast, the glacial camera pivots, the moody lighting — that it teeters on the line of becoming monotonous. When Tuason eases up a bit, say in a scene in which Evy pops on a sleep podcast that begins by describing a babbling brook and rapidly becomes a nightmare tale of bobbing corpses, he finally shows you that he has the potential for range.
But “undertone” is rooted in that slow-and-still horror discipline that holds its breath waiting for something to happen. It requires the audience to bring their own bad vibes to shots of religious icons on the wall and long takes of Evy clacking on her laptop, unaware of a flickering light behind her. (Rumor is Tuason has already signed on to shoot the next “Paranormal Activity” sequel.)
Mostly it puts the audience in the position of watching a protagonist so passive that chunks of the running time are watching her sit at a table waiting for Justin to look up things for her on Wikipedia. Like amateur detectives, we learn alongside them as they click around pages about Sumerian devils, Catholic saints and the origin of the nursery rhymes “London Bridge” and “Baa, Baa, Black Sheep.”
As visuals go, “undertone” is so far removed from anything resembling the cinematic experience that I left with a fresh appreciation for campfire storytelling. At least then the listener gets to use their own imagination. But production designer Mercedes Coyle does dig up two satisfyingly creepy props: one, an antique speaking doll, the other, a small white statue that appears to be the Virgin Mary until we get a better look at her mouth, deformed by a hungry scream.
Despite my quibbles with how her character reacts when things really go awry, Kiri’s Evy has a clarity of purpose that holds our attention despite not having that much to do. In her strongest sequence, she and Justin take a few live callers on their podcast, some of whom bear bad news about Mike and Jessa, and another who phones up in the middle of a crisis that’s too big for these self-positioned experts to handle. Real violence is coming and these armchair ghosthunters are totally out of their depth. Yes, everyone is into podcasts. Maybe they shouldn’t be.
Coronation Street’s Megan Walsh will finally be exposed in upcoming scenes on the ITV soap, leaving Eva Price and her entire family shaken when they discover what she has been doing
Eva Price will make a shock discovery about her stepson on Coronation Street
Coronation Street‘s Megan Walsh will finally be exposed in upcoming scenes on the ITV soap. The teacher, played by Beth Nixon, has been carrying out an illicit affair with her student Will Driscoll as part of a controversial storyline on the ITV soap.
Will arrived with his family last October to move into the Rovers Return, and it was quickly established that Megan was his athletics coach but there was a lot more to it than just that. Megan eventually moved to Weatherfield, got a job at the local secondary school and has even started up a relationship with Daniel Osbourne (Rob Mallard) as a cover-up.
Megan’s flatmate Leanne also looks set to weigh in on the harrowing situation, as her own stespon Sam Blakeman (Jude Riordan) has worked out what his going on between Will and Megan, and has received multiple threats from the villainous teacher. After the bombshell scenes, this will also leave Daniel wondering where he stands as he potentially comes to realise that his entire relationship was a lie.
Just weeks ago, Corrie aired a flashforward episode that revealed that Megan is one of five potential murder victims, along with fellow villains Jodie Ramsey, Carl Webster, Maggie Driscoll, and Theo Silverton. So will this all lead to the ultimate downfall for Megan or will the teacher actually face prison time for her crimes?
Coronation Street boss Kate Brookes recently explained that she the story was a “very important” one to tell. She said: “It’s a very important story to tell and we want to be as truthful as possible. As part of that story Sam will end up getting embroiled in it all.
“Sam is semi-related to the pub family and he potentially gets wind that something’s amiss. We will see the lengths that Megan will go to manipulate Sam into keeping quiet. It’ll be massively detrimental to Sam’s wellbeing.”
Meanwhile, for actress Beth Nixon, Coronation Street marks her television debut but she had actually auditioned for other parts on the soap before landing the role of Megan. Speaking to York College, Beth shared that the casting team had seen Beth in several shows at her drama school: the Arden School of Theatre in Manchester, so she was “kind of on their radar.”
Revealing her past audition history, Beth explained: “But I’d auditioned for Corrie twice before – as a baddie both times of course – including for the role of Lauren.” Actress Cait Fitton ended up being cast as Lauren, making her debut in 2022, and has remained on the show since.
Beth added: “Then, earlier this year, my agent sent me a casting brief and explained it was for a paedophile, which is a bit crazy to play because they’re obviously not a redeemable character, so they can push it pretty far.” After sending a self-tape Beth attended a chemistry test with other actors who were being considered to play Will. She then performed a scene on the set at The Bistro – and it turned out the bosses were rather impressed with her.
Beth – who was working as a skin clinic manager before joining Corrie – said: “I was at work when my agent called me. I was upstairs as my colleague watched the desk and, when he told me I’d got it, everybody in the clinic could hear me screaming my head off and then I cried, because it’s been four years since I graduated and this is my first TV role.
“It’s been a hard time and I was really close to quitting, having a normal job and pursuing a different career, so this just came at exactly the right time and when I needed it.”
