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The Little Mermaid, visionary filmmaker Rob Marshall’s live-action reimagining of the studio’s Oscar®-winning animated musical classic, opens exclusively in theaters nationwide May 26, 2023. The Little Mermaid is the beloved story of Ariel, a beautiful and spirited young mermaid with a thirst for adventure. The youngest of King Triton’s daughters, and the most defiant, Ariel longs to find out more about the world beyond the sea, and while visiting the surface, falls for the dashing Prince Eric. While mermaids are forbidden to interact with humans, Ariel must follow her heart.
She makes a deal with the evil sea witch, Ursula, which gives her a chance to experience life on land, but ultimately places her life – and her father’s crown – in jeopardy. The film stars singer and actress Halle Bailey (grown-ish) as Ariel; Tony Award® winner Daveed Diggs (Hamilton, Snowpiercer) as the voice of Sebastian; Jacob Tremblay (“Luca,” “Room”) as the voice of Flounder; Awkwafina (Raya and the Last Dragon) as the voice of Scuttle; Jonah Hauer-King (A Dog’s Way Home) as Prince Eric; Art Malik (Homeland) as Sir Grimsby; Noma Dumezweni (Mary Poppins Returns) as Queen Selina; with Oscar® winner Javier Bardem (No Country for Old Men, Being the Ricardos) as King Triton; and two-time Academy Award® nominee Melissa McCarthy (Can You Ever Forgive Me? Bridesmaids) as Ursula. “The Little Mermaid” is directed by Oscar® nominee Rob Marshall (Chicago, Mary Poppins Returns), and written by two-time Oscar nominee David Magee (Life of Pi, Finding Neverland), with a live-action story adaptation by David Magee, Rob Marshall, and two-time Emmy winner John DeLuca (“Tony Bennett: An American Classic”), based on the short story by Hans Christian Andersen, and the Disney animated film by Ron Clements and John Musker. The film is produced by two-time Emmy® winner Marc Platt (“Jesus Christ Superstar Live in Concert,” “Grease Live!”), three-time Tony Award® winner Lin-Manuel Miranda, Rob Marshall, and John DeLuca, with Jeffrey Silver serving as executive producer.
The score is by multiple Academy Award® winner Alan Menken, who won two Oscars® for the music in the animated version of “The Little Mermaid,” with music supervised and produced by Mike Higham. Music is by Alan Menken, lyrics are by Howard Ashman and new lyrics are by Lin-Manuel Miranda.
Historical drama The Woman King, starring Viola Davis, Thuso Mbedu, John Boyega, Shelia Atim, and Lashana Lynch takes us into an epic portion of history that many, specifically those in the US, are largely unfamiliar with. The film is about the Agojie (whom colonists called the Dahomey Amazons), an all-woman warrior army in the Kingdom of Dahomey (now Benin) during the 1800s. They were known among many African nations for their bloody fierceness as they dedicated their lives to serving the king and protecting their people at all costs. The Woman King brings this fascinating story to life in a stunning and heartbreaking narrative that parses through facing the repercussions of slavery, eschewing societal expectations and norms, choosing self-preservation, enacting vengeance, and forming an unbreakable sisterhood.
The Woman King depicts the Agojie women through several lenses, including General Nanisca (Davis), Izogie (Lynch), Amenza (Atim), and Nawi (Mbedu), a stubborn yet valiant trainee who wants to prove herself worthy of this collective. Nanisca is the seemingly unflappable Agojie leader and skilled fighter whose opinions and thoughts are respected and valued by not only her sisters but also King Ghezo (Boyega). When she speaks, it is always with purpose and strategy.
However, The Woman King allows Davis to once again affirm that she’s one of the greatest thespians of all-time. She peels back Nanisca’s many layers with expert execution. We witness her digging into the character’s story of surviving unthinkable pain and crushing choices as well as her unexpected reconciliation with her past as she grapples with trauma. She’s vulnerable, powerful, wise, and as much an agent of change as she is someone who subscribes to certain traditions.
Nanisca masks this undercurrent of instability under an external shell that radiates power and a determination to change what’s become the status quo. Thankfully, The Woman King doesn’t go the route of making her the lonely, tortured soul. Nor does it turn her into the borderline tyrant with nearly unchecked and detrimental leadership decisions. Amenza acts as her confidant, friend, and a place where she can be her authentic self. It’s a loving, honest bond that further humanizes her. And, it is quite refreshing to see Davis as an action star alongside women of various ages and body shapes.
In contrast Izogie, while a demanding and stringent trainer, outwardly leans more into the compassion and wit that the Agojie share among themselves. Her master-disciple relationship with Nawi, who has been rejected in various fashions throughout her life, is incredibly touching. Their bond is an essential foundation to this narrative.
And, make no mistake, this film keeps majority of its focus right where it should be: on the Agojie themselves. It leaves you feeling like you have a holistic view of these women, from their place in Dahomey to their interpersonal relationships. There are few men who play a significant role, including Boyega’s somewhat amendable/actually likeable Ghezo, antagonist Oba Ade (Jimmy Odukoya), and Malik (Jordan Bolger). But their stories rightfully come secondary (and even tertiary) to the women. Love to see it.
The Agojie sit at an intriguing intersection of womanhood with elements that are both familiar and foreign to many women today. It’s one that allows them to be heard, seen, and to simply exist as humans. For them, the possibility of dying on a battlefield is better than being property for acquisition/trade (via slavery, marriage, etc.) with whom a man can do as his pleases. However, it does come at a cost: they cannot marry/have sexual encounters nor have children. For many of them, like Izogie, this tradeoff is mostly inconsequential.
But, the real loss for the Agojie is a piece of their humanity. There is no room for tears nor volatile emotions. They must follow orders, serve King Ghezo, and protect their nation. Their individual desires and wants can never conflict with their mission. And that’s the part that Nawi (with an electrifying performance by Mbedu) challenges in such a beautiful way. She makes others question and redefine what it means to lead, to defend, and to wield power.
Life has seemingly primed her to be an Agojie. But, like many young warriors, she has lessons to learn along the way. It seems Nanisca and Nawi’s relationship is crystal clear with the younger warrior being a mirror to her older leader; however, it is quite complex. From watching the women tear through enemies with in a way that highlights their sheer physical skill and force, thanks to the brilliant directorial eye of Gina Prince-Bythewood, to quiet conversations and acts of intimacy and care, this depiction of the Agojie is far better than the crude way they are documented by European historians. They are divinely human with a found family that is unbreakable by any outsider. The Agojie incessantly choose each other and stand together in the midst of heartbreak, secrets, revelations, and obstacles. That is Black sisterhood at its finest.
The Woman King has much working to its favor in addition to the Agojie and stellar performances all-around. Cinematographer Polly Morgan crafts some truly stunning visuals worthy of these characters and their beautiful nation. The action sequences are fantastic and the balance between emotional beats and moments of levity work well. The film also doesn’t shy away from some African nations’ culpability in the Atlantic slave trade. And whoo are there some delicious moments of vengeance and triumph. However, it is clear that some elements of this story get the ever-present “Hollywood eye” filter.
Several turns of events are clearly for striking certain emotional nerves and tying up strings with a pretty bow. (Does the ending still make me want to cheer for certain characters? Absolutely.) Of course, a historical film will always take some creative liberties to appease audiences. But hopefully this story will encourage audiences to dig into the much more complex (and quite fascinating) real-life story of the Kingdom of Dahomey.
There’s also the perplexing need to shoehorn in a heterosexual “forbidden” relationship between two characters. The male character doesn’t chew up a ton of screen time. However, that storyline gives him a little too much needless involvement in the third act. His big revelation frankly doesn’t matter in the film’s larger scope. If anything, it would have been quite rich to explicitly explore a relationship between two Agojie. This would have checked that same forbidden box while also affirming what happened in real-life between some of these women. Finding the balance of having romantic love while also being a part of this tight-knit group would have been quite the journey.
Hopefully, The Woman King will be a catalyst to continue to dig into these interesting and (for some) hidden global stories. It takes a nation and its people and brings them to life with dignity, respect, and reverence. All hail the mighty Agojie and the woman king.
The Woman King will hit theaters on September 16.
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Writer-director Sophie Kargman makes her feature directorial debut at this year’s Toronto International Film Festival with Susie Searches, a dark comedy satire based on her 2020 short of the same name. The film, co-written by William Day Frank, delves into our cultural fascination with true crime, social media stardom, and how messy it gets when the two come together.
Susie (Kiersey Clemons) is a socially awkward, ambitious college student living in Ohio. She divides her time between caring for her ailing mother, going to school, working a part-time job, interning at the police station, and running her true crime podcast. Despite not having any friends or even a following for her podcast, Susie remains determined and eager, which some people find annoying. She proves that everyone, including the audience, has underestimated her.
When a classmate and popular YouTube influencer Jesse (Alex Wolff), goes missing, Susie takes it upon herself to find him. Sheriff Loggins (Jim Gaffigan) and the local police aren’t getting anywhere. Jesse’s whole “brand” is kindness, positive vibes, and meditation. He’s attractive and well-known, sort of a local celebrity.
Sophie Kargman introduces characters who could easily fit into archetypes but quickly shows just how authentic they really are. Susie is a lonely nerd with braces and no friends. But she’s also confident in her knowledge and investigative skills. From what we see of Jesse, he’s popular, from a wealthy family, and, we assume, a self-centered influencer. However, Susie finds that he’s actually more than that. Even Jillian (Rachel Sennott), her catty coworker (who looks so much like Shelly from Twin Peaks in her teal-blue uniform), doesn’t completely fit the mold of other movie mean girls.
Nobody is who they seem, something Susie discovers during her investigation. But she’s not totally who she appears to be either, which is what makes her so interesting. She’s not perfect or even 100% “good.” She benefits from his popularity, and her podcast gets a much-needed boost. She longs to be seen, and that part of her is relatable. But is this really how she wants to gain support and notoriety?
Though she’s intelligent and goal-oriented, Susie is still very childlike. I honestly kept forgetting that she was in college and not high school, but that’s likely due to her braces and clothes. Even though Clemons isn’t under heavy makeup, or even looks super different from her regular appearance, it’s a role that the actor fully embodies and makes believable as a real person.
Kiersey Clemons and Alex Wolff have great on-screen chemistry, leading an eclectic cast made up of emerging talents and veteran comedians alike. Dark comedy is a genre that still really lacks diversity. Clemons said, “I fell in love with the heart and peculiarity of Susie right away. Stories like this, starring women like me are few and far between.” Having a woman of color leading a film like this, and in a non-stereotypical role, is refreshing.
Kargman describes Susie Searches as “a cautionary tale about our society’s current fixation with insta-celebrity— and how it can even damage good people with positive intentions.” The film is among many stories satirizing the cultural obsession with true crime, particularly podcasts and social media. Even the university’s President Andrews (Geoffrey Owens) says, “Who would’ve thought that this true crime stuff would be so big with your generation?”
Shows like Search Party and Only Murders in the Building explore the absurdity of amateurs, armed with excessive knowledge gathered from hours of Dateline and Netflix documentaries, who think they can solve crimes better than actual law enforcement. Although, in these stories, it’s the super fans who crack the case and make the real investigators look incompetent.
Susie Searches has a gorgeous fall aesthetic with orange and brown leaves galore. Susie’s signature quirky corduroy and sweater ensembles are various shades of brown, yellow, orange, and green. It feels grounded in reality but still sprinkles in some fantastical elements like the colorful Ms. Marvel-esque animations floating around Susie.
Cinematographer Conor Murphy (The Wretched) uses cool techniques to zero in on Susie like fisheye lens effects, vignettes, and standard close-ups. There are many times when what we see is slightly distorted, and we’re just as disoriented as she is. Flashbacks are also done in vintage film effects with burns and a little grain.
From Mitski to Mozart, music plays an important role in the film, establishing the tone by alternating whimsical and foreboding. The shift in sound also signals when Susie’s mindset and emotions change. When she’s caught off guard or starting to spiral, the transition between music styles is abrupt rather than seamless. Paired with a sudden change in camera positioning, it’s all perfectly jarring for a mystery thriller.
There are also more childlike sounds you’d hear from a music box. Composer Jon Natchez (Brittany Runs a Marathon) uses one particular piece that’s reminiscent of Coraline — sweet and haunting harmonizing but not as gloomy.
Susie Searches is a darkly satirical film that has the potential to become an indie cult classic in the vein of Ingrid Goes West, as well as more obscure titles like Saved, Thoroughbreds, Election, and Drop Dead Gorgeous. Like the best neo-noir dramedies, Sophie Kargman gives us an empathetic antihero we can relate to and root for, flaws and all.
Susie Searches premiered at the 2022 Toronto International Film Festival.
The shadowy figure aboard a ship seemed like a true savior for Galadriel and Halbrand at the end of The Rings of Power‘s second episode. But upon waking up, the elven warrior quickly realizes she’s not necessarily among friends. These people are the Númenóreans, a race of Men that descend from Elves long back. Sounds like they ought to be buddies, right? Sadly, no. The series’ third episode, “Adar,” brings the fractious history between Elves and Númenóreans to the fore. Here is what you need to know about that history, from J.R.R. Tolkien’s The Silmarillion.
Like many good feuds, it comes down to family. Way way back—we’re talking First Age stuff—the ancient race of Men called Edain fought along with Elves and Valar against the evil rogue Valar Morgoth. This is the War of Wrath. After the war ended with Morgoth’s defeat, the Valar gifted the Edain an island in between Aman (the continent containing Valinor) and Middle-earth. This island would become Númenor and the inhabitants would become the Númenóreans. In addition to the land, the Valar gifted these Men a much longer lifespan (hundreds of years) and greater height.
The first king of Númenor was none other than Elros, brother of Elrond. Elros chose to live a mortal human life while Elrond chose to remain an immortal elf. For a long time, because of this fraternal bond between Elves and Númenóreans, got along great. The Elves from Valinor would routinely go to Númenor to visit and trade. Everything was peachy keen! But as you probably noticed from the show, Elrond is still kicking while Elros is not. Elros died hundreds of years before the beginning of The Rings of Power.
And this was the first major fissure. Despite their incredibly long lives, the Númenóreans were still mortal. They grew to resent the Elves for their immortality and permission to live in Valinor. They grew proud and nationalistic, especially once they mastered the seas and set up colonies on Middle-earth. The royal lineage tended to remain friendly with Elves for many more years, however. An off-shoot of the royal line became the House of Andúnië, aka “The Faithful.” As we see in the episode, this is the lineage of Elendil and Isildur.
After a time, the royal line of Númenor started along that anti-elf route. They would persecute the Faithful, driving them into hiding. King Tar-Palantir, the most recent king as of the beginning of The Rings of Power, was one of the Faithful. His own father, the previous king Ar-Gimilzôr, opposed the Valar and the Elves, and so Tar-Palantir was truly on his own in trying to repair relations with the immortal beings. He once again tended to the the White Tree and followed the ancient practices honoring Eru Ilúvatar.
However, the Valar did not reply to this gesture, perhaps still aware that so many in Númenor had disdain for them. And really, can you blame Galadriel for being sniffy towards Miriel, the Queen Regent of Númenor? She knows she’s unwelcome, and feels, as she says in the episode, that the Númenóreans owe the Elves for their great gifts and bountiful homeland. The Elves feel as though the Númenóreans have abandoned their responsibilities to the peoples of Middle-earth, focusing inward instead at their own might and glory.
It’s interesting, then, that the show has taken to depicting Númenor visually and Númenóreans culturally as a mix of Ancient Crete and Venice, both powerful city-states that fell under their own weight. We know the Second Age ends with the fall of Númenor, and at this point in the series we’re only about 64 years away from that. We’re seeing the end, in real time, of Númenórean society. Would they have survived if they hadn’t broken with the Valar? Could they have beaten Sauron early? I mean, probably not, but one does wonder.
The show will introduce more interesting twists in the relations between Elves and Númenóreans which I won’t spoil if you’re watching along. But I will say, the final scene between Queen Regent Miriel and an unseen person will prove very important. Mystery.
Kyle Anderson is the Senior Editor for Nerdist. You can find his film and TV reviews here. Follow him on Instagram and Letterboxd.
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