Life hurts. Facile films use this truth to extract drama. The worst of them exploit the characters, and in turn, the audience, for effect. One comes out of the theater feeling used and with a bitter taste in your mouth.
Writer/Director Andrew Haigh’s coming of age drama, Lean on Pete, is not one of those films.
Though flawed at times by pacing and supporting character issues, it is held together, even elevated, by a inspired and understated performance by Charlie Plummer. The success and the humanity of the film rests on his thin shoulders and he carries it like a young DiCaprio.
The film’s structural and character strengths are built on contrasts. Charley Thompson (Plummer) is a 16 year old kid, new to a working class neighborhood of Portland, having to make a new start because of his father’s unsteady employment record, immaturity, and risky lifestyle choices.
The first thing we see is Charley unpacking his few things, placing his football trophies on the windowsill. A wide receiver, he has a rangy and wiry build, suited more for long distance running, which is his other activity, than for the pounding violence of the gridiron. He says he’s waiting until he stops growing to muscle up. And there you have a powerful metaphor for this film: Charley is a vulnerable kid, waiting to be grown up, waiting to toughen up. Life and the filmmakers, however, have more immediate plans. There will be no waiting. Charley’s strength building will not happen in a gym but on the road.
And like all good road movies and novels, The Adventures of Huckleberry Finn being a major model of this film, Charley needs a partner. That partner is Lean on Pete, a quarter horse on his last legs. Charley lives down the road from a third or fourth tier racetrack. This is not Churchill Downs. These are not thoroughbreds. Leave behind the glamour of Derby Day, the dapper trainers in suits, all the hats, even the long lap around the track, with all the jockey’s calibrations of speed and tactics. Quarter horses sprint. They run as fast as they can, and if they don’t run fast enough, unscrupulous trainers and jockeys will find ways to goad them on.
But to Charley, this is a glamours and intriguing world. He begins working for a trainer, Del (Steve Busemi putting in another nuanced and rock solid performance) and falls for his second string horse, Lean On Pete. Charley doesn’t know anything about horses or racing, but Del, despite his hard-boiled exterior, takes to the kid and appreciates his work ethic. He hires him as a stable boy, but warns him, as does Del’s jockey, Bonnie (Chloe Sevigny), “Don’t fall in love with the horses.” One can imagine Del and Bonnie, in their younger and sunnier days, falling in love with a horse or two, but those salad days are long gone. These are two characters at the declining ends of their careers. Beaten up and wounded by life, but still in game, though much compromised and wearing thin.
Is that Charley’s fate, too? Is it the responsibility of the adults in a child’s life to toughen them up, shatter their infantile illusions and prepare them for the pain, some of it to arise from bad luck but most of it self-inflicted?
Does a 16 year old see his life on such terms or is hope in the open road before him? A third of way into the film, Charley makes up his mind and takes to the road with Pete.
It’s in this section, that the sweetness of his character, the tenderness and vulnerability of Charley, is most clearly revealed. And it contains the best moments in the movie, and the best moments for Plummer. His monologues with Pete, as they move across the eastern Oregon and Wyoming plains anchor and sustain the film, give the film a reason for being.
But there are adventures ahead, new strangers, threatening and deadly situations, learning experiences, toughening up.
It’s in this parade of encounters that the film’s focus weakens. In committing to be life-like, the film must choose between developing supporting characters or letting them be tools in Charley’s progression. Sometimes they pay off, Charley’s aunt for instance, and sometimes, like with the two partying vets, the berated girl, and Steve Zahn’s street person, they are more symbols that souls, dark possible paths that Charley may find himself traveling if he’s not careful and lucky.
For like horse racing, to the bystander and gambler, it seems to be about luck and fortune; while for the trainer, the jockey, and the horse, it’s about hard work, grit, and, if fortunate, grace. Lean on Pete has plenty of all those, mostly in Charlie Plummer and the character he brings to aching and hopeful life.
TW: Discussions of Sexual Assault.
I did myself a favour and watched the cult classic Jennifer’s Body (which I highly recommend you do, too). Watching this clever, funny, thought-provoking movie in 2025, it is hard to believe that it was a major flop when it was released in 2009.
‘00s nostalgia spurts throughout the film. From the frosted eyeshadow to the digital cameras, it’s enough to bring a tear to a millennial’s eye. However, not everything about the film is dated. In fact Jennifer’s Body is hailed today as a modern feminist classic.
This is particularly intriguing when remembering how badly the film bombed in 2009. Looking at Rotten Tomatoes scores, Jennifer’s Body has a rather pitiful 46% critic score and an even worse 36% audience score. Was this comedy-horror simply ahead of its time? Many believe so.
In pre-#MeToo 2009, Jennifer’s Body was marketed as a fun, sexy romp aimed at straight men. Sex symbol Megan Fox in the starring role as Jennifer, fresh from her scantily-clad Transformers fame, audience thought they knew what to expect from the actress. And Fox is wrist-achingly beautiful in the film; there is no doubt about that, but many complained she remained disappointingly fully clothed. There was also the promised same-sex kiss between Fox and Amanda Seyfrie,d which was framed more as an uncomfortable, confused, and tragic scene between two childhood friends rather than sexy.
In short, Jennifer’s Body was marketed for the male gaze, even with a female writer (Diablo Cody) and director (Karyn Kusama) instead of what it is, which was a commentary about the treatment of female bodies (the clue was in the title, really).
Many have theorised that the film is essentially a rape-revenge fantasy. The premise is (spoilers!) that Jennifer is kidnapped by an indie boyband after a gig. The group’s plan is to sacrifice young Jennifer to Satan in exchange for fame (obviously). Their plan goes awry when Jennifer lies about being a virgin, when she is not in fact even a “backdoor virgin”. This little lie causes Jennifer to turn into a creature-monster-succubus-type thing. This is a clear commentary on how women are only seen as useful or worthy if their virginity is intact. Also, how the music industry sacrifices young women to the altar of male lust.
Later that night, Jennifer appears at her childhood friend Needy’s (Amanda Seyfried) home drenched in blood and covered in bruises, with a vacant stare. After this, Jennifer begins to indiscriminately kill young men from her school.
I theorise that the film is cleverly inverting the expectation of young women being targeted. Jennifer is indiscriminate in her choosing of victims. A school jock, a sensitive emo guy, and a foreign exchange student walking home alone at night. She lures them to secluded areas with the promise of sex and tears them apart until they look like “lasagne with teeth”.
With Jennifer’s murder spree terrifying the small town, its young men are warned not to go anywhere alone. Johnny Simmon’s character, Chip, is even given mace by his mother to protect him on prom night.
Jennifer’s Body cleverly inverts many of the horror movie tropes. For example, the ‘nerdy girl’, Needy is not a virgin either. Needy and her boyfriend Chip actually have regular, no-consequence sex, which is unusual for a female character in a horror movie.
This cult classic may have died on its initial release but it was resurrected by the dashboards of Tumblr and feminist blogs. Seyfried even teased the possibility of a sequel soon. Suffice to say there is definitely more to Jennifer’s Body than meets the eye!
Indian cinema has long been known for its ability to weave myth, culture, and grandeur into powerful storytelling. The latest addition to this tradition, Hanuman, directed by Prasanth Varma, is an ambitious retelling of one of India’s most beloved mythological characters. A cinematic marvel, Hanuman is a bold attempt to blend ancient epic with modern storytelling techniques, creating an experience that resonates with audiences of all ages.
At its core, Hanuman reimagines the tale of Lord Hanuman, the divine devotee of Lord Rama, known for his strength, loyalty, and courage. The movie isn’t just a retelling of traditional episodes from the Ramayana; it infuses these timeless stories with fresh perspectives, exploring themes of duty, faith, and the triumph of good over evil. While the script takes creative liberties, it stays rooted in the cultural and spiritual essence of Hanuman, making it both an engaging narrative and a respectful homage.
One of the standout features of Hanuman is its visual grandeur. The VFX team has outdone themselves, creating breathtaking battle sequences, celestial landscapes, and larger-than-life depictions of Hanuman’s legendary feats. The use of cutting-edge technology elevates the storytelling, offering audiences a visual feast that rivals global fantasy epics. The cinematography, led by seasoned artist Dasaradhi Sivendra, captures the mythological tone beautifully, blending vibrant palettes with the dark hues of conflict and sacrifice.
Teja Sajja, in the titular role, delivers a performance that is both commanding and heartfelt. His portrayal of Hanuman captures the character’s divine strength and endearing humility, making him an ideal hero. Supporting performances by Amritha Aiyer, Varalaxmi Sarathkumar, and Vinay Rai add depth to the narrative, bringing a spectrum of emotions to the screen.
Director Prasanth Varma deserves applause for his vision and execution. Tackling a subject as revered as Hanuman could have easily resulted in a cautious or overindulgent approach. Instead, Varma strikes a balance, creating a story that is both reverent and relatable. The screenplay moves at a brisk pace, though some moments, particularly the expository sequences, could have benefited from tighter editing.
The film’s music, composed by Gowrahari, Anudeep Dev, and Krishna Saurabh, is an emotional anchor, blending traditional Indian sounds with a modern orchestral touch. The background score heightens the drama and spirituality, particularly during pivotal moments like the crossing of the ocean and the climactic battle sequences.
Hanuman is a cinematic achievement that successfully reimagines a beloved figure for modern audiences. While it occasionally stumbles in pacing and exposition, these are minor flaws in an otherwise spectacular production. For fans of mythology, fantasy, and visually stunning cinema, Hanuman is a must-watch. It is a testament to Indian cinema’s ability to merge tradition and innovation, reminding us why stories of gods and heroes continue to inspire across generations.
Rating: 4.5/5
This film not only celebrates the timeless tale of Hanuman but also sets a new benchmark for mythological storytelling in Indian cinema.
Genre: Action, Adventure, Drama
Duration: 179 minutes
Director: Om Raut
Writer: Om Raut
Stars: Prabhas, Saif Ali Khan, Kriti Sanon, Sunny Singh
Rating: ★★☆☆☆ (2/5)
Netflix’s Adipurush aims to reimagine the Indian epic Ramayana in a modern cinematic style, delivering a tale of righteousness, devotion, and the eternal conflict between good and evil. Helmed by Om Raut, the film follows Raghava (Prabhas) as he embarks on a journey to rescue his wife Janaki (Kriti Sanon) from the clutches of the demon king Lankesh (Saif Ali Khan). With a narrative that spans vast landscapes and incorporates mythological grandeur, the film had immense potential but falters in its execution.
While the premise remains faithful to its legendary source, the execution feels lackluster. The screenplay struggles to balance a modern audience’s expectations with the gravitas of its traditional essence. The dialogues, often stilted, fail to evoke the emotional depth and poetic resonance required for a story of such magnitude.
Prabhas, portraying Raghava, delivers a restrained performance that lacks the heroic intensity one expects from the character. Kriti Sanon as Janaki does her best with limited material, bringing grace to her role, while Saif Ali Khan’s over-the-top portrayal of Lankesh is polarizing, leaning more into theatricality than menace. The supporting cast, including Sunny Singh, adds little to elevate the film.
One of the film’s most significant drawbacks is its visual effects. Despite the high budget, the CGI appears subpar, often detracting from the immersive experience. The underwhelming special effects undermine key battle sequences and fantastical elements, which should have been highlights of the film.
On the brighter side, the musical score by Ajay-Atul manages to shine, offering moments of grandeur and emotional heft. The film’s costume design and some set pieces are visually appealing, hinting at what could have been with more polished execution.
Adipurush is a well-intentioned attempt to bring the epic Ramayana to life for a global audience, but it stumbles in critical areas, including visual effects, pacing, and character depth. While it offers a few moments of spectacle and an engaging musical score, the overall experience feels hollow and unworthy of its mythological roots. Fans of the epic may find some moments of nostalgia, but casual viewers are likely to be left disappointed.
Adipurush is a missed opportunity to create a definitive modern retelling of an Indian classic.
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Hanuman – A Visual Spectacle and a Mythological Triumph
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