Shadows on the Wall | Arthouse Films

Shadows catches up ’25
Reviews of films I only managed to see late in the game...

On this page: THE MASTERMIND | SPLITSVILLE

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See also: SHADOWS FILM FESTIVAL | Last update 23.Nov.25

The Mastermind
Review by Rich Cline | 4/5

dir-scr Kelly Reichardt
prd Neil Kopp, Vincent Savino, Anish Savjani
with Josh O'Connor, Alana Haim, Hope Davis, Bill Camp, John Magaro, Gaby Hoffmann, Jasper Thompson, Sterling Thompson, Eli Gelb, Cole Doman, Javion Allen, Matthew Maher
release US 17.Oct.25,
UK 24.Oct.25
25/US Mubi 1h50

CANNES • LONDON

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Set in 1970 Massachusetts, this inventive heist movie has a jazzy vibe, written and directed by Kelly Reichardt to focus on the characters rather than the plot. Everything is remarkably understated, often playing out in silence, which adds both humour and tension as events continually spiral in unexpected directions. And the knowing human story pulls us in deeply thanks to an especially warm performance by Josh O'Connor.

With his wife Terri (Haim) and two busy sons (Jasper and Sterling Thompson) as distractions, struggling architect James (O'Connor) cases the local museum. His parents (Davis and Camp) worry about his aimlessness, but he's actually plotting to steal several paintings in broad daylight with three cohorts (Gelb, Doman and Allen). Then cops begin sniffing around, as does a local gangster (Maher), and Terri is furious that the family might be in danger. James urges her to have faith in him. But he decides to lie low with his friends Fred and Maude (Magaro and Hoffmann).

It's fun to watch various things go wrong from the start, largely due to members of this ragtag crew, forcing James to improvise new paths through his carefully crafted plan. The cast beautifully underplays each scene, anchored by O'Connor as a thoughtful, likeable guy whose life didn't go as he hoped. We may not be able to identify with his turn to criminality, but we definitely understand his need to bolster his self-confidence with a daring sidestep. All of the performances have a witty edge to them, grounded in earthy authenticity and complex interaction.

Beautifully shot by Christopher Blauvelt and skilfully edited by Reichardt, the warm narrative unfolds with a continual stream of twists, augmented by pointed period details like the ever-present Vietnam War in newspapers and televisions in the background. Because he seems so quiet and passive, everyone underestimates James, but his brain is meticulous, both in planning and responding to surprises. So as it progresses, the film shifts into something we don't expect, more provocatively ironic and introspective, digging into meaningful ideas about the nature of ambition and opportunity.

themes, language, violence 21.Nov.25

Splitsville
Review by Rich Cline | 4/5

dir Michael Angelo Covino
scr Michael Angelo Covino, Kyle Marvin
prd Emily Korteweg, Michael Angelo Covino, Kyle Marvin, Ryan Heller, Jeff Deutchman
with Dakota Johnson, Adria Arjona, Kyle Marvin, Michael Angelo Covino, Simon Webster, Nicholas Braun, O-T Fagbenle, Charlie Gillespie, David Castaneda, Nahema Ricci, Tyrone Benskin,Jessika Mathurin
release US 22.Aug.25
25/US Neon 1h44

CANNES

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This engagingly smart comedy takes on a taboo with witty, unflinching humour. Director Michael Angelo Covino and cowriter Kyle Marvin are exploring ideas of fidelity, jealousy and guilt by piling a whole range of issues onto a group of sparky and very expressive characters. It's a refreshing look at the unpredictable nature of emotional connections. And the straightforward, grown-up approach makes this film a thoroughly enjoyable ride.

When Ashley (Arjona) tells her husband Carey (Marvin) that she wants a divorce, he's devastated. He turns to his best friend Paul (Covino) and his wife Julie (Johnson), who further throw him off him by telling him their relationship is open. So when Paul is away at work, the expected happens between Julie and Carey. And Paul freaks out. Traumatised, Carey goes home and suggests that he and Ashley open up as well. But things only get increasingly complicated between these long-time friends, especially as this begins to involve a much wider circle of people.

Paul's reaction leads to an extended scrappy fistfight that's hilariously messy, tipping so far over the top that it's downright ridiculous. But it establishes a knowing undercurrent as the narrative evolves in amusingly entangled directions. More and more wonderfully colourful people become intertwined with these couples in rather absurd ways. Performances are bright and likeable, even when these people do stupid things. And the actors find all kinds of layers in the characters that reveal underlying truths from surprising angles.

While much of this plays out in blackly comical ways, the narrative itself is actually rather serious, taking some intensely emotional twists and turns along the way. And for all the wildly untidy relational carnage, there are lingering feelings of love everywhere that make the ongoing interaction even trickier. It's nice to see a film that takes a freshly atypical approach to the bonds between people who care for each other, even if it ultimately confirms the things we always suspected.

themes, language, violence, sexuality 18.Nov.25

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See also: SHADOWS FILM FESTIVAL