movie review broken star

Review: Psychological drama ‘Broken Star’ burns out in the end

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The indie drama “Broken Star” features Analeigh Tipton as Markey Marlowe, a scandal-plagued actress hiding out from the press in a low-rent duplex owned by a loner named Daryl (Tyler Labine), who’s obsessed with her. Over the course of several days, Markey and Daryl take turns manipulating each other, in ways so densely intertwined that it’s hard to know who has the upper hand.

Early on, “Broken Star” seems more like an acting workshop than an exercise in psychological suspense. Tipton digs into the character of a spoiled celebrity, reacting to her latest PR nightmare with a combination of bratty indignation and a recommitment to her craft. Markey tries on wigs, improvises monologues, and spills her guts about her friends and family to Daryl.

The landlord, meanwhile, is so gripped by Markey’s behind-the-scenes gossip that she gradually persuades him to help her get even with her haters.

Though it’s slackly paced, “Broken Star” holds some fascination early on as an elliptical character study. But when the plot finally kicks in, it feels like an afterthought — as though director Dave Schwep and screenwriter David Lee Brant realized too late that they needed something more than two damaged folks in a tacky old house.

The situation and the performances are strong, but without a good story to hold everything together, it all falls apart in the end.

-------------

‘Broken Star’

Running time: 1 hour, 30 minutes

Playing: Starts July 20, Laemmle Monica Film Center, Santa Monica

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Review: Broken Star

A solidly constructed riff on the kind of paranoid, B-movie thrillers that Alfred Hitchcock and Brian De Palma are best remembered for, first time feature director Dave Schwep and screenwriter David Brant’s Broken Star doesn’t reinvent or subvert genre conventions in any way, but it’s fine enough for what it is. Boasting standout performances from leading actors that have been cast somewhat against type, Broken Star balances psychologically interesting material with borderline sleazy tendencies to good effect. Like many decent, if unexceptional thrillers in the same vein, it’s easier to describe this as “effective” than “excellent.” Broken Star steals from the best, contains enough novel twists to remain interesting, and never wears out its welcome by straining the viewer’s suspension of disbelief to the point of snapping.

Markey Marlowe (Analeigh Tipton) is a fame addicted, TMZ ready starlet who believes that any attention is good attention. But following a dispute with her demanding mother (Lauren Bowles) and fame hungry younger sister (Addyson Bell), Markey is sentenced to house arrest stemming from assault and drug possession charges. To get her out of the public eye for a bit, Markey’s personal assistant and only true friend (Monique Coleman) gets the budding trainwreck a secluded place to serve out her sentence. It’s an attached home with no landline, no internet, almost nothing to read, and a barely functioning television. Living next door to her is Daryl (Tyler Labine), her landlord; a reclusive type that keeps himself since the death of his grandmother, who lived in Markey’s current dwelling. Seeking any sort of attention that she can find, Markey strikes up an uneasy friendship and understanding with Daryl. She finds the attention she craves from Daryl, but when she discovers her landlord’s secret fetish for celebrity culture, she also finds a way to potentially manipulate him into exacting revenge on her enemies.

Broken Star plays out like what might have happened if Norman Bates and Marion Crane somehow found common ground and decided to team up in their criminal endeavours, and Schwep and Brant wear their cinematic inspirations proudly on their sleeves. Every frame of Broken Star is so deeply indebted to Hitchcock and his modernist successor Brian De Palma that it tap dances on the line between homage and plagiarism. Schwep (who has a background in cinematography) has seemingly never met a voyeuristic appearing camera shot that he didn’t adore, often shooting from wide angles, backseats, or seemingly impossible vantage points. When she’s feeling lonely, Markey will don a platinum blonde wig and sun herself on the lawn. In the absence of external stimuli, Markey will turn mirrors on herself to feel less alone while she sleeps. Daryl’s home is full of surveillance equipment, including a decidedly Rear Window -esque telescope. None of this is original, and Schwep and Brant deserve some credit for not trying to be precious or obtuse about whom they’re cribbing from. These visual and narrative nods would only be opaque to anyone who hasn’t seen a Hitchcock film before, so Broken Star doubles down on embracing its own B-movie roots.

There’s also a great amount of patience in Schwep and Brant’s storytelling. Broken Star boasts a lot of casual character development before setting its actual throughline into motion. Markey’s plan to manipulate and use Daryl doesn’t take shape until around the halfway point. It’s a smart move, since neither character is exactly endearing or likable, and their plans are pretty straightforward and less than complex. Even if the viewer doesn’t like following these people, Broken Star makes it a point to formulate a considerable amount of interest in what they’re going to do next. It’s another assuredly Hitchcockian/De Palmian thing to do, but when so many lesser films have attempted similar riffs and botched even a simple trip from point A to point B, there’s something about Broken Star that strikes as novel and welcome. This kind of material, tone, and technicality has been handled far worse in the past, which makes it hard to knock Schwep’s straightforward approach.

The main reasons to watch, however, are Tipton and Labine, who play exceptionally well off each other and are clearly giving their all to roles that neither performer is often granted. Tipton has the showier part playing a woman who doesn’t know how to stop being a character and start acting like herself. It’s a difficult role to play because she’ll often have to bounce around between being a fame seeking phony and an honestly frightened, confused, and angry young woman. It’s always fascinating to watch where Tipton takes the character. Meanwhile, the usually comically cast Labine sinks his teeth into Daryl’s social awkwardness and gruff demeanor, balancing the character’s initially innocuous nature with a sense of impending danger. I’m sure Labine studied Anthony Perkins for his performance here, but his work in Broken Star certainly showcases another skill set for the actor that often goes unseen. Even when the film around them is like staring at a boilerplate, they’re always able to elevate the material.

I suppose it’s a demerit that outside of some easily taken potshots at modern celebrity culture, Broken Star never does much to set itself apart from a litany of other similarly themed and indebted, character driven thrillers. It’s not exactly a film that aims for the middle, since making a thriller in this vein and tenor comes with a high degree of difficulty. Broken Star feels every bit like a debut feature, especially in how it unabashedly leans into every genre defining convention that came before it. It’s taking liberally from difficult, ambitious filmmakers, but the film itself isn’t exactly ambitious or difficult. It’s a film so rigidly set on getting the mood and tone just-so-right that there’s little room for experimentation. And yet, Schwep and company do everything they can to make their variation on these themes into something modestly enjoyable. One could argue that there are so many bad Hitchcock and De Palma rip-offs that the bar set for Broken Star is already as low as it can go. Still, clearing a bar is clearing a bar.

Broken Star opens in select Canadian cinemas and on VOD on Friday, July 20, 2018.

Check out the trailer for Broken Star :

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Andrew Parker

Andrew Parker fell in love with film growing up across the street from a movie theatre. He began writing professionally about film at the age of fourteen, and has been following his passions ever since. His writing has been showcased at various online outlets, as well as in The Globe and Mail, BeatRoute, and NOW Magazine. If he's not watching something or reading something, he's probably sleeping.

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Great, but Alfred Hitchcock didn’t make B-Pictures. PSYCHO was made on a B-Picture budget but certainly was not distributed as such!

I see what you’re getting at, but I would disagree. While not EVERY Hitchcock movie was a B-movie, he definitely made more than his fair share. The Birds and Family Plot are unabashed B-movies, and I would argue that Psycho is assuredly in line with B-movie standards. I think the term “B-movie” has an unnecessarily bad reputation, and that people take it far too literally. A B-movie can be a masterpiece, as Psycho illustrates. Also, the marketing campaign for Psycho (the trailer with Hitchcock coming out and explaining the movie, theatre owners not allowing any latecomers) is straight up out of the B-movie marketing playbook.

I might sound dumb asking this, and I do have several ideas about this as well, but what is the ending exactly mean? Did she die and get what she wanted? Why did they get such a big actress stay in a home like this without security guards? Was it all just a dream?

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Broken Star Reviews

When the plot finally kicks in, it feels like an afterthought - as though director Dave Schwep and screenwriter David Lee Brant realized too late that they needed something more than two damaged folks in a tacky old house.

Full Review | Jul 19, 2018

A low-rent effort that's equal parts tawdry and tedious... from start to finish, it makes little lucid sense.

Full Review | Jul 18, 2018

Broken Star

Where to Watch

Lio Tipton (Markey) Tyler Labine (Daryl) Lauren Bowles (Kara) Monique Coleman (Annie) Natasha Loring (Sydney) Alex Lombard (Becky) Addyson Bell (Jade) Scott Hamm Duenas (Papparazi) Ben Moroski (Paparazzi #2) Joshua Davis (Nick)

Dave Schwep

Abandoned by her friends and family and with her career in jeopardy, starlet Markey Marlowe is sequestered in a duplex with a reclusive landlord who just may be more dangerous than she is.

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Movie Review: ‘Broken Star’

by RedCarpetCrash | Jul 18, 2018 | Featured , Movie Reviews , Movies | 0 comments

Review by James Lindorf

It was announced earlier this year that Gravitas Ventures had acquired the distribution rights to Broken Star. This psychological thriller is the first film from Kandoo’s new slate of six to eight low budget films, aimed at developing undiscovered talent. Broken Star was helmed by first-time feature film director Dave Schwep, written by newcomer David Brant, and stars Analeigh Tipton (Two Night Stand; Warm Bodies) and Tyler Labine (Super Troopers 2; Tucker and Dale vs Evil). Gravitas will release Broken Star in theaters and on VOD July 20th.

Young starlet Markey Marlowe (Tipton) is sentenced to 30 days of house arrest along with a temporary restraining order. Lucky for her, she has a great assistant who was able to find an open portion of a duplex, away from prying eyes. Once in her “home away from home” without her cell phone, access to the internet, no visitors, and with nothing to read but the encyclopedia and bible, the young star quickly beings to suffer from cabin fever. When she reaches her breaking point, she turns to the only person she can, her reclusive landlord. Daryl (Labine) is a shy middle-aged man more comfortable alone in his home than he is interacting with the world. It takes him nearly half the movie before he willingly even makes eye contact with Markey. Once they make their initial breakthroughs, their particular afflictions begin feeding into the other’s, leading the pair into a disastrous spiral.

For their first outing, I would say that Kandoo hit a solid double. It wasn’t out of the park, but it was a near miss that should give the creative team plenty to be proud of. Brant’s script is full of elements of voyeurism, exhibition, obsession, and depression, while taking a dig at both Hollywood culture and the family life of child actors. Not to be outdone, Schwep made many smart decisions with the shot selection, pacing, and music throughout the film. He walks you to the edge while building tension, typically leaving it to the viewer to imagine the dangers that lurk below.

I think what kept this film from being a potential smash hit was the acting. I am a Labine apologist, and have been following his career for years, so I may be a bit biased when I say I think he gave a slightly more consistent performance. While his performance wasn’t award worthy, he was fine as the unstable neighbor who lives to serve while watching the world through a lens. Tipton, on the other hand, had her ups and downs. Some scenes were terrific, and others were distractingly flat. Another downfall is in the overly ambiguous ending.

Overall, Schwep and Brant presented a solid film worth your time while displaying a ton of talent for a pair of newbies. However, when it was over, I was more excited about their next project than watching this one a second time.

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Broken star.

Directed by Dave Schwep

Fame is to die for

Abandoned by her friends and family and with her career in jeopardy, starlet Markey Marlowe is sequestered in a duplex with a reclusive landlord who just may be more dangerous than she is.

Lio Tipton Tyler Labine Lauren Bowles Monique Coleman Natasha Loring Alex Lombard Josh Davis Addyson Bell Scott Hamm Duenas Kevin Ross Silvia Tovar Ben Moroski

Director Director

Dave Schwep

Producer Producer

Howard Barish

Writer Writer

David Lee Brant

Editor Editor

Kelly McCoy

Cinematography Cinematography

Tyler Maddox

Kandoo Films

Alternative Title

Little Star

Releases by Date

• Theatrical limited

20 Jul 2018

Releases by country.

90 mins   More at IMDb TMDb Report this page

Popular reviews

Review by Björn ★★½

It's not that the story itself isn't good, it's just made boring due to a dull execution. There are many fascinating aspects to the story and yet it's drawn out and overly dramatic while it could have been thrilling and emotionally involving. Solid performances make a large part of it bearable. Lio Tipton is doing a good job, getting a lot out of her performance despite the enormous pacing issues. Even though there is some decent writing concerning its characters, the plot doesn't quite maintain a compelling energy throughout its relatively short runtime. Tipton's performance and overall appearance make the overall experience far better than it has any right to be, making it feel like an okayish movie, even. And…

Review by alex ★★

the concept of a hot ex-child star charming a reclusive weird guy into making her personal snuff film fantasies come to life is SO next level but this movie really did not allow itself to realize its full potential. we were SO close.

Review by Jerome1994 ★½

The fact I’m not giving this a full review speaks for itself, the movie does nothing different that many other thrillers have done, it’s terribly paced, terribly written and poorly acted. Outside the filming and a few moments this movie really falls on it’s face...give this one a pass. 

Review by Keith Adams Jr. ★★ 3

Quickie Review  A blind late night watch after watching the latest episodes of “American Gods” and “Now Apocalypse”, this psychological thriller is as uneventful and toothless as they come. Analeigh Tipton plays Markey Marlowe, a troubled starlet who’s been placed on house arrest after trouble with the law and is sequestered at a house, where her neighbor is a landlord (Tyler Labine) who seems to keep to himself and maybe more dangerous than she is. The movie wants to go for thrills but when it does happen, it’s less thrilling than what you would expect. Sure, Tipton & Labine are effectively creepy but ultimately their performances are not enough to keep the film afloat and not effective enough to achieve what it was trying to accomplish. Broken Star is available to stream on Hulu but only watch if you’re in need of background noise or if you’re a Analeigh Tipton completist (if there’s such a thing like that).

Review by Rich Trash🗑️ ★★½

Broken Star is so close yet so far to perfection. The concept is out of the box, a washed-up actress on house arrest wants to make something that will make a Hollywood legend. Of course, she goes down the path that no one has taken before instead of being a good actress in good movies or shows. No, she talks to a lonely guy who is obsessed with her to do her vengeful bidding. The violent depths that this guy will go for her are just awe-inspiring. This is pure horror territory and clumsily detours into torture porn for a brief moment or two.

The movie takes a few odd turns and the ending is up for interpretation but I have my opinions on how it ended. There are more than a few great shots and angles. This also starts sort of like an erotic thriller but quickly takes a side step in another direction without looking back.

Review by Kevin Falk ★½

There’s a scene in this where the main character puts on a wig and literally starts acting like her deceased grandmother to her audience of one. Later on she instructs her neighbor to scalp one of her former friends and literally kill her sister all so she can stay in the limelight....  And yet we’re suppose to find her neighbor to be the creepy one. Damn this was weird.  Grade: D+

Review by 🧀 Almer ★½

Yep, you need something more than two damaged folks in a tacky old house.

Review by Carlos Lee ★★

This review may contain spoilers. I can handle the truth.

More like "Broken Movie". Wtf with ending? There was no payoff for a very slow movie.

Review by acarelock ★★

Review by camille ★★★

i honestly don’t know how i feel ab this

Review by Momofcamden ★½

Cool concept - poor execution & strange ending.

Review by ljennif ★★★★

I can't really explain why I liked this movie so much. It was quiet and unsettling but there was an odd kindness and connection. I've always liked Lio Tipton (from way back on AMTM) and she does a really nice job here. There's not a ton that happens but i found it engrossing.

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Broken Star

BROKEN STAR is a psychological thriller that follows a young, obsessive actress (Analeigh Tipton), who will stop at nothing to ensure everlasting fame and fulfill her demonic desires. Can anyone escape this self-destructive star? more

BROKEN STAR is a psychological thriller that follows a young, obs ... More

Starring: Analeigh Tipton Tyler Labine Monique Coleman

Director: Dave Schwep

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BROKEN STAR is a psychological thriller that follows a young, obsessive actress (Analeigh Tipton), who will stop at nothing to ensure everlasting fame and fulfill her demonic desires. Can anyone escape this self-destructive star?

Starring: Analeigh Tipton Tyler Labine Monique Coleman Lauren Bowles Natasha Loring

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Currently you are able to watch "Broken Star" streaming on Hulu, fuboTV, Paramount+ with Showtime, Paramount Plus Apple TV Channel , Paramount+ Amazon Channel, Paramount+ Roku Premium Channel, Showtime Apple TV Channel or for free with ads on VUDU Free. It is also possible to rent "Broken Star" on Vudu, Apple TV, Google Play Movies, YouTube online and to download it on Vudu, Apple TV, Google Play Movies, YouTube.

Where does Broken Star rank today? The JustWatch Daily Streaming Charts are calculated by user activity within the last 24 hours. This includes clicking on a streaming offer, adding a title to a watchlist, and marking a title as 'seen'. This includes data from ~1.3 million movie & TV show fans per day.

Streaming charts last updated: 9:17:34 PM, 05/15/2024

Broken Star is 11364 on the JustWatch Daily Streaming Charts today. The movie has moved up the charts by 6531 places since yesterday. In the United States, it is currently more popular than The Blackout Experiment but less popular than Mary, Queen of Scots.

Abandoned by her friends and family and with her career in jeopardy, starlet Markey Marlowe is sequestered in a duplex with a reclusive landlord who just may be more dangerous than she is.

Videos: Trailers, Teasers, Featurettes

Streaming Charts The JustWatch Daily Streaming Charts are calculated by user activity within the last 24 hours. This includes clicking on a streaming offer, adding a title to a watchlist, and marking a title as 'seen'. This includes data from ~1.3 million movie & TV show fans per day.

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The Broken Star

When a deputy marshal murders a henchman, steals the racketeer money he is holding, and claims self defense, the head marshal orders an investigation to find the truth. When a deputy marshal murders a henchman, steals the racketeer money he is holding, and claims self defense, the head marshal orders an investigation to find the truth. When a deputy marshal murders a henchman, steals the racketeer money he is holding, and claims self defense, the head marshal orders an investigation to find the truth.

• Lesley Selander
• John C. Higgins
• Howard Duff
• Bill Williams
• 8 User reviews
• 3 Critic reviews

• Deputy Marshal Frank Smeed

• Conchita Alvarado

• Deputy Marshal Bill Gentry

• Hiram Charleton

• Thornton Wills

• Marshal Wayne Forrester

• (as Wm. 'Bill' Phillips)

• (uncredited)

• Posse Member

• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

[Frank claims he shot Alvarado in self-defense]

Deputy Marshal Bill Gentry : Rustler?

Deputy Marshal Frank Smeed : Suspicion of. Tried to kill me with this.

Deputy Marshal Bill Gentry : What happened then?

Deputy Marshal Frank Smeed : Guess.

Deputy Marshal Bill Gentry : Tried to dry gulch ya?

Deputy Marshal Frank Smeed : Nope. Face to face showdown.

Marshal Wayne Forrester : He jumped you first?

Deputy Marshal Frank Smeed : Mm-hmm.

Marshal Wayne Forrester : [dubious] Self-defense, huh?

Deputy Marshal Frank Smeed : Yessir! Self defense.

• Soundtracks I Hate You Lyrics by John C. Higgins Music by Paul Dunlap

User reviews 8

• Apr 21, 2011
• April 1956 (United States)
• United States
• Gegen das Gesetz
• Old Tucson - 201 S. Kinney Road, Tucson, Arizona, USA
• Bel-Air Productions
• See more company credits at IMDbPro

Technical specs

• Runtime 1 hour 22 minutes
• Black and White

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Broken Star (2018) Stream and Watch Online

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Need to watch ' Broken Star ' on your TV, phone, or tablet? Discovering a streaming service to buy, rent, download, or watch the Dave Schwep-directed movie via subscription can be difficult, so we here at Moviefone want to take the pressure off. Below, you'll find a number of top-tier streaming and cable services - including rental, purchase, and subscription alternatives - along with the availability of 'Broken Star' on each platform when they are available. Now, before we get into the various whats and wheres of how you can watch 'Broken Star' right now, here are some specifics about the Kandoo Films thriller flick. Released July 20th, 2018, 'Broken Star' stars Lio Tipton , Tyler Labine , Lauren Bowles , Monique Coleman The movie has a runtime of about 1 hr 30 min, and received a user score of 50 (out of 100) on TMDb, which put together reviews from 13 knowledgeable users. You probably already know what the movie's about, but just in case... Here's the plot: "Abandoned by her friends and family and with her career in jeopardy starlet Markey Marlowe is sequestered in a duplex with a reclusive landlord who just may be more dangerous than she is" 'Broken Star' is currently available to rent, purchase, or stream via subscription on Apple iTunes, fuboTV, Paramount+ Amazon Channel, Showtime Apple TV Channel, Hulu , VUDU Free, YouTube, Paramount Plus Apple TV Channel , Paramount+ Roku Premium Channel, Vudu, Showtime Paramountplus Bundle, and Google Play Movies .

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Films like “Unbroken,” and the Laura Hillenbrand book on which it’s based, capture something we all hope is true about ourselves—that we too are unbreakable. That when faced with horrendous, life-threatening situations, we would respond in similar fashion to Louis Zamperini, finding a new well of courage within ourselves and surviving the unimaginable. It is the resilience of the human spirit that has drawn us to films based on true stories again and again to experience pain and triumph in the relative comfort of a movie theater seat.

“Unbroken” opens with a powerfully staged and shot sequence of aerial combat that surprisingly defines the film's strengths and weaknesses over the next two-plus hours. The attention to detail as Zamperini (Jack O’Connell), Russell ‘Phil’ Phillips ( Domhnall Gleeson ) and Hugh ‘Cup’ Cuppernell (Jai Courtney) spin their plane around and take aim at the enemy feels accurate. There’s a weight to the gunfire and a fragility to the aircraft itself that conveys that these people were always a more-accurate gunsight away from tragedy. And yet there’s something wrong here too. The sunset on the horizon looks like a painting. The clouds are perfectly placed for visual impact. The little drop of blood on Zamperini’s forehead can’t hide his movie star looks or movie star make-up. Everything feels accurate in its staging, and yet also not quite genuine. It's Hollywood, old-fashioned movie accurate. And despite O’Connell’s instant charisma (the guy is going to be a MASSIVE star), this feeling never leaves “Unbroken”—the sense that we’re watching human suffering that looks too pretty and too refined to convey its intended impact.

Louis Zamperini should have become a household name for his athletic ability. The “Torrance Tornado” was a US Olympic athlete whose career was cut short when he joined World War II as a bombardier. Even in country, Zamperini is seen training, pushing himself right at the moment that most people would give up. He is the kind of runner who hangs back, and only makes his move when everyone has reached the point of exhaustion. Of course, this is a character trait that will serve him well during the nightmare he’s about to endure.

Zamperini and two other men, including Phil, survive a plane crash in the middle of the Pacific Ocean. They barely make it long enough to board a raft, where the conditions of hunger, dehydration and heat exhaustion take their toll. These scenes are remarkably well-staged and executed by director Angelina Jolie and her team. They’re the best in the film, the moments in which we can feel Zamperini’s increasing desperation and likely death. They have a focus, fragility and purpose that the second half of the film lacks.

That begins when Zamperini is captured after 47 days adrift, and forced into horrific conditions and hard labor in Japanese Prisoner of War camps. Here, Jolie simply fails to convey the danger and what’s truly at stake. “Unbroken” starts to go through the motions of history recreation instead of real character drama, and while I have loved Roger Deakins ’ work in the past, it’s too “pretty” here, covering every shot in that vague beige of WWII memory, which never allows us to put ourselves in Zamperini’s speedy shoes. If we can’t feel the urgency of his plight, we won’t have the same emotional response to it as we would with more blood, more dirt, and just more danger. It becomes something we watch instead of something we experience. There's a difference.

The relative disappointment of “Unbroken” has nothing to do with Jack O’Connell, a truly gifted actor who has emerged as a fully-formed movie star with this, his even better work in “ Starred Up ,” and next year’s great “’71.” He may not be a household name yet. He will be. In fact, he’s so good that one wishes Jolie asked more of him. Gleeson also deserves praise for taking a smaller role and making it memorable. He too is an actor really worth watching. “Unbroken” could be a film that we look back on as an early entry in the careers of major stars.

Because the disappointing thing is we won’t really look back at the film itself on its own merits. It’s one of those inspirational Hollywood dramas about which there isn’t anything "overtly wrong" with it. It’s well-cast, it looks great, it has that intense centerpiece in the raft, and it certainly conveys a true story worth telling. And yet I keep coming back to that beautiful sunrise that opens the film. It’s just too damn pretty.

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

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Film credits.

Unbroken (2014)

Rated PG-13 for war violence including intense sequences of brutality, and for brief language

137 minutes

Jack O'Connell as Louis Zamperini

Takamasa Ishihara as Mutsuhiro 'The Bird' Watanabe

Garrett Hedlund as John Fitzgerald

Jai Courtney as Hugh 'Cup' Cuppernell

Domhnall Gleeson as Russel Allen 'Phil' Phillips

Finn Wittrock as Francis 'Mac' McNamara

John Magaro as Frank A. Tinker

Alex Russell as Pete Zamperini

Luke Treadaway as Miller

• Angelina Jolie
• Richard Lagravenese
• William Nicholson

Director of Photography

• Roger Deakins

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10 Best Movies About Broken Marriages, Ranked

U nfortunately, things don't always go as we intend them to, and marriage isn't an exception. Whether this has to do with financial problems, lack of intimacy and communication, or even infidelity, it isn't uncommon for marriages to be unsuccessful, even if the two people involved were initially head over heels for each other. This proves that even the most passionate and loving relationships require work and commitment.

While many movies — especially romance films — shine a positive light on romantic relationships, there are engaging dramas that explore the other side of the coin, making audiences reconsider whether they should tie the knot. From Blue Valentine to Scenes From a Marriage , these are the best movies about broken marriages that send out thoughtful, valuable messages on relationships and human connection .

'Blue Valentine' (2010)

Director: derek cianfrance.

Derek Cianfrance 's heart-wrenching romance drama Blue Valentine stars Ryan Gosling and Michelle Williams (in an Oscar-nominated role) as a very believable working-class couple with a young daughter, Frankie ( Faith Wladyka ). By crossing-cutting between two time periods, the film highlights the changes in their marriage and the ultimate deterioration of their relationship.

At its core, the beautifully shot Blue Valentine is a painful breakdown of a marriage . It is depicted through a series of beautifully heartbreaking scenes and emphasizes the importance of parenting, including how childhood experiences can impact adult relationships. Through its moving but captivating narrative, this devastating love tale highlights how some relationships are not built to last, even if couples are seemingly completely in love with each other at the start.

blue valentine

Release Date 2010-12-16

Cast Reila Aphrodite, John Doman, Ben Shenkman, Ryan Gosling, Mike Vogel, Michelle Williams

Runtime 120

Genres Drama, Romance, Documentary

Watch on Max

'Eyes Wide Shut' (1999)

Director: stanley kubrick.

Stanley Kubrick 's final feature is an essential erotic thriller, even though everyone has probably seen it by now. The story centers around an upper-middle-class couple, Dr. Bill and Mrs. Alice Harford, played by Tom Cruise in a great dramatic performance and Nicole Kidman (who is just as good). Their relationship is put to the test when Alice tells William about her sexual fantasies and unfulfilled longing. He then embarks on an obsessive, night-long odyssey of sexual adventure.

Equal amounts sensual and horrifying, Eyes Wide Shut suggests that even married people have secrets and hidden desires , which can lead to a sense of distance between partners; it is an intriguing exploration of guilt in relationships that also deals with capitalism and fragile masculinity. While the two characters do not go separate ways by the end, it is reasonable to say that Alice and William's relationship is doomed, especially considering that they decide to ignore the adultery they are capable of committing.

Eyes Wide Shut

Release Date 1999-07-16

Cast Leslie Lowe, Jackie Sawiris, Madison Eginton, Nicole Kidman, Sydney Pollack, Tom Cruise

Runtime 159

Genres Drama, Mystery, Thriller, Documentary

Rent on Apple TV

'Marriage Story' (2019)

Director: noah baumbach.

Based on Noah Baumbach 's own experiences when he and Jennifer Jason Leigh divorced in 2013 ( via Cosmopolitan ), Marriage Story explores the emotional scars that divorce leaves behind and the painful attempt to move on with one's life. It stars Adam Driver and Scarlett Johansson as theater director Charlie and L.A. movie actress Nicole. After numerous sessions of marital mediation, the two decide to put an end to their decade-long marriage, struggling to make it work for the sake of their eight-year-old son, Henry ( Azhy Robertson ).

Baumbach's tale of acceptance, grief, repressed anger, and frustration is realistic and heartbreaking . This Netflix tearjerker reinforces the fact that a strong relationship foundation requires work and offers a deteriorating portrayal of a once healthy, loving relationship and its effects. While its narrative is poignant and well-crafted, Marriage Story benefits the most from its staggering performances.

Marriage Story

Release Date 2019-09-28

Cast Ray Liotta, Merritt Wever, Adam Driver, Laura Dern, Mark O'Brien, Scarlett Johansson

Runtime 136

Genres Comedy, Documentary

Watch on Netflix

'An Unmarried Woman' (1978)

Director: paul mazursky.

While released in 1978 , An Unmarried Woman is a very modern film, essentially in the progressive messages it sends. It follows Erica ( Jill Clayburgh ), a wealthy woman from Manhattan's Upper East Side who navigates her identity and sexuality after her husband of 16 years leaves her for a younger woman.

The importance of love and self-sufficiency are clearly the most poignant messages in Paul Mazursky 's film, which perfectly tackles loneliness and sexuality. With an incredible acting effort from Clayburgh at its center, An Unmarried Woman is a must-see for those who are looking for a film that meditates on divorce without actually showing the decay of a relationship and focusing on the aftermath instead. Plus, what is fascinating about this humorous social observation, too, is how it sheds light on feminist politics through the protagonist's story.

An Unmarried Woman

Release Date 1978-05-24

Cast Patricia Quinn, Cliff Gorman, Alan Bates, Jill Clayburgh, Michael Murphy, Kelly Bishop

Runtime 124

Genres Drama, Romance, Comedy, Documentary

Buy on Amazon

'Gone Girl' (2014)

Director: david fincher.

David Fincher 's beloved twisted drama based on Gillian Flynn 's bestselling novel of the same name follows Nick Dunne ( Ben Affleck ), a man who is suspected of having something to do with his wife's ( Rosamund Pike in a riveting, career-defining, Oscar-nominated performance) sudden disappearance on the occasion of their fifth wedding anniversary. Her vanishing has become the focus of an intense social media circus; the question everyone is dying to answer is: is Nick innocent?

If readers are looking for an incredible psychological thriller that deals with toxic relationships but escalates into something so much more sinister, Gone Girl is the pick. Meditating on loyalty, honesty, deception, and even identity and power, this epic Fincher provocatively emphasizes the importance of open conversations in relationships . It is impossible to describe Gone Girl without spoiling it a bit too much. However, it is beyond clear that the relationship shared by the two is far from successful.

Release Date 2014-10-03

Cast Neil Patrick Harris, Kim Dickens, Tyler Perry, Ben Affleck, Rosamund Pike, Carrie Coon

Runtime 149 minutes

Genres Drama, Mystery, Thriller

Watch on DirecTV

'A Woman Under the Influence' (1974)

Director: john cassavetes.

A Woman Under the Influence is a soul-shattering character study unlike any other. The story follows a Los Angeles housewife, played by the talented Gena Rowlands , who navigates between trying to be the perfect wife, the perfect mother, and the perfect woman. Meanwhile, Mabel sinks into depression, and the only way to fix her increasingly erratic and volatile behavior, according to her husband Nick ( Peter Falk ), is institutionalization.

This truly captivating film by John Cassavetes is aided by Rowlands' tour de force performance, which ranks high among the best of all time. A Woman Under the Influence is a very dramatic and devastating multi-layered story about mental health and incompatibility that may hit too close to home due to the feminist themes it tackles. It's impossible not to feel for the three-dimensional Mabel — a woman who desperately tries to be seen and loved — and the influence that the two domineering male figures have on her life.

A Woman Under The Influence

Release Date 1974-11-18

Cast Gena Rowlands, Peter Falk

Runtime 155

Genres Drama

'Who's Afraid of Virginia Wolf?' (1966)

Director: mike nichols.

Elizabeth Taylor 's second Oscar win (after being nominated five times, making the star one of the Golden Age actors with the most Oscars ) came after she starred in Mike Nichols ' Who's Afraid of Virginia Wolf? , a tale of illusion and reality based on Edward Albee 's 1962 play of the same name. The story centers around an aging couple (Taylor and Richard Burton ) who use their young houseguests to fuel emotional pain towards each other.

Set over the course of a very emotionally distressing night, this flawless adaptation illustrates the shattered American dream, touching on topics of marriage and family with sharp-razor, hurtful words. Who's Afraid of Virginia Wolf ? will probably make audiences second-guess getting married, as it totally dismantles the idea of a happy and fulfilled matrimony . Be it as it may, Nichols' movie is undeniably good, intense, and charged with strong emotion.

Watch on Tubi

'La Notte' (1961)

Director: michelangelo antonioni.

Starring Jeanne Moreau and Marcello Mastroianni , La Notte is a wonderful new Italian cinema movie centering around an unfaithful couple, married for several years, who struggle to separate even though they want to . Needless to say, this can only result in the deterioration of a once-loving marriage.

Given its slow pace, which is not to everyone's taste, some viewers may consider this character study of detached people tedious and dull. However, La Notte could not be a more intriguing exploration of alienation and disconnection, providing an interesting sneak peek inside a couple's doomed relationship. Despite its heartbreaking narrative, Michelangelo Antonioni 's movie is incredibly romantic in its own way, playing like an elegant, heart-wrenching poem. Plus, it perfectly captures the filmmaker's essence of work.

'A Separation' (2011)

Director: asghar farhadi.

This Middle East must-see film by Asghar Farhadi tells the story of a married couple ( Leila Hatami and Payman Maadi ) faced with a difficult decision — they must improve the life of their daughter by moving to another country or stay in Iran and look after a suffering parent ( Ali-Asghar Shahbazi ) who has Alzheimer's disease. The argument leaves the couple with no choice but to divorce; however, the consequences may be more severe than anticipated.

Class struggles, family values, and morality are all part of this superb movie's essence. Demonstrating the conflict between two households, A Separation is a fascinating adult drama that offers audiences an intriguing look at complex relationships and the morally complex dilemmas they face. It is a film that knows no borders and is essential for fans of the genre, though at times it is a bit overlooked.

A Separation

Release Date 2011-03-15

Cast Merila Zare'i, Sarina Farhadi, Leila Hatami, Shahab Hosseini, Peyman Moaadi, Sareh Bayat

Rating PG-13

Runtime 123

Genres Drama, Documentary

'Scenes From a Marriage' (1974)

Director: ingmar bergman.

The blueprint for the Oscar Isaac and Jessica Chastain series of the same name (and arguably the best of the two), Ingmar Bergman 's five-hour, six-part television series is among the best pieces of media that deal with marriage. Though less detailed than its TV counterpart, Scenes From a Marriage 's theatrical release provides audiences with the same harrowing tale revolving around the years of love and turmoil that bind Marianne ( Liv Ullmann ) and Johan ( Erland Josephson ) through matrimony, infidelity, and divorce.

Like other films on this list, Scenes From a Marriage will likely have audiences questioning matrimony thanks to its extremely realistic and heartfelt narrative elevated by fantastic performances and humane characters. It is a meticulous study of intimacy, love fading, and the alternations in relationships, which has raised the bar for romantic dramas.

NEXT: 14 Great Romantic Movies Where the Lovers Don't End Up Together, According to Reddit

‘IF’ Review: John Krasinski’s Ryan Reynolds-Starring Children’s Tale Has a Classical Look, but Messy World-Building

Despite a star-studded voice cast and a terrific lead in Cailey Fleming, this big-hearted animation-live action hybrid doesn’t feel magical like the Pixar films it aspires to emulate.

By Tomris Laffly

Tomris Laffly

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John Krasinski proudly makes movies for and about the whole family. Maybe his vastly successful “A Quiet Place” franchise, with all its screechy monsters, is too much for youngsters to handle. But there’s still an undeniable, innocent loveliness to those movies, with warm moments that lean closely into the bonds of an adoring family that only grow stronger in the face of danger and despair.

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Naturally, Bea joins them too and finds herself at a Coney Island retirement community for all discarded IFs that only she can see. (This superpower of hers feels easier to accept than a 12-year-old kid taking the subway all over New York City, without the knowledge of her grandmother and father.) And once at the center, we realize we are witnessing perhaps the most star-studded ensemble cast of the year, with the IFs voiced by the likes of Louis Gossett Jr., Matt Damon, Maya Rudolph, Emily Blunt, Bradley Cooper, Jon Stewart, Sam Rockwell, Awkwafina, George Clooney and more.(There appears to be no shortage of A-listers who want to have some fun with Krasinski.)

This remarkable lineup of actors aside, the animated IFs never quite impress, enlighten or entertain us enough, even when they launch into an adorable song-and-dance number. Elsewhere, Bea’s regular trips to the hospital to visit his spirited dad (during which we get to meet Alan Kim’s adorable Benjamin) always feel like an uncomfortable afterthought. Krasinski’s concept borrows generously from Pixar films like “Monsters Inc.,” but is so chaotic and half-considered that you don’t feel as inspired as you should be, making it hard to submit to the film’s alternate reality.

The film asks its audience to use unreasonable sums of imagination to decipher why on earth, for instance, a child’s imaginary friend would be an ice-cube in a half-full water glass (Cooper), or an impulsive spy-like figure (Christopher Meloni) or a giant gummy bear (Amy Schumer), next to some of the more credible ones like a teddy bear or a unicorn. Not to mention Bea’s very own (and heavily signposted) IF — once it’s finally revealed, it’s a particular head-scratcher. It’s almost as if some imaginary figures were conceived with little consideration for their narrative purpose, and baked into the script just because they felt cool as ideas. Like many of the film’s attempts at humor, the animated characters fall flat, in desperate need of some coherent world-building.

That’s too bad, because “IF” does have a classical look and feel to its visuals, an old-school and big-hearted quality sorely missed in cinema aimed at younger viewers these days. Everything from the magical lens of frequent Steven Spielberg DP Janusz Kamiński to Jess Gonchor’s opulent production design and Michael Giacchino’s disarmingly melancholic score beg for a film with as much writerly finesse to rise to the occasion. If only.

Reviewed at Regal Union Square, New York City, May 14, 2024. Running time: 104 MIN.

• Production: A Paramount Pictures release of a Sunday Night and Maximum Effort production. Producers: Allyson Seeger, John Krasinski, Andrew Form, Ryan Reynolds. Executive producers: John J. Kelly, George Dewey, Kimberly Nelson LoCascio.
• Crew: Director, screenplay: John Krasinski. Camera: Janusz Kamiński. Editors: Andy Canny, Christopher Rouse. Music: Michael Giacchino.
• With: Cailey Fleming, Ryan Reynolds, John Krasinski, Fiona Shaw, Phoebe Waller-Bridge, Louis Gossett Jr., Alan Kim, Liza Colón-Zayas, Steve Carell.

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'If' movie review: Ryan Reynolds' imaginary friend fantasy might go over your kids' heads

Even with likable youngsters, a vast array of cartoonish characters, various pratfalls and shenanigans, and Ryan Reynolds in non- Deadpool mode, the family comedy “IF” isn’t really a "kids movie" – at least not in a conventional sense.

There’s a refreshing whiff of whimsy and playful originality to writer/director John Krasinski’s big-hearted fantasy (★★½ out of four; rated PG; in theaters Friday), which centers on a young girl who discovers a secret world of imaginary friends (aka IFs). What it can’t find is the common thread of universal appeal. Yeah, children are geared to like any movie with a cheery unicorn, superhero dog, flaming marshmallow with melting eye and assorted furry monsters. But “IF” features heady themes of parental loss and reconnecting with one’s youth, plus boasts a showstopping dance set to Tina Turner, and that all leans fairly adult. Mash those together and the result is akin to a live-action Pixar movie without the nuanced execution.

Twelve-year-old Bea (Cailey Fleming) doesn’t really think of herself as a kid anymore. Her mom died of a terminal illness and now her dad (Krasinski) is going into the hospital for surgery to fix his “broken heart,” so she’s staying with her grandma (Fiona Shaw) in New York City.

When poking around her new environment, Bea learns she has the ability to see imaginary friends. And she’s not the only one: Bea meets charmingly crusty upstairs neighbor Cal (Reynolds) as well as his IF pals, like spritely Blossom (voiced by Phoebe Waller-Bridge) and overly sensitive purple furry monster named Blue (Steve Carell). They run a sort of matchmaking agency to connect forgotten IFs whose kids have outgrown them with new children in need of their companionship, and Bea volunteers to help out.

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Bea is introduced to an IF retirement community located under a Coney Island carousel with a bevy of oddball personalities in the very kid-friendly middle section of the movie. “IF” low-key has the most starry supporting cast of any movie this summer because of all the A-listers voicing imaginary friends, an impressive list that includes Emily Blunt and Sam Rockwell as the aforementioned unicorn and superdog, Matt Damon as a helpful sunflower, George Clooney as a spaceman, Amy Schumer as a gummy bear and Bradley Cooper as an ice cube in a glass. (It's no talking raccoon, but it works.)

One of the movie's most poignant roles is a wise bear played by Louis Gossett Jr. in one of his final roles. Rather than just being a cameo, he’s nicely central to a key emotional scene.

While the best family flicks win over kids of all ages, “IF” is a film for grown-ups in PG dressing. The movie is amusing but safe in its humor, the overt earnestness overshadows some great bits of subversive silliness, and the thoughtful larger narrative, which reveals itself by the end to be much more than a story about a girl befriending a bunch of make-believe misfits, will go over some little ones’ heads. Tweens and teens, though, will likely engage with or feel seen by Bea’s character arc, struggling to move into a new phase of life while being tied to her younger years – not to mention worrying about her dad, who tries to make light of his medical situation for Bea.

Reynolds does his part enchanting all ages in this tale of two movies: He’s always got that irascible “fun uncle” vibe for kids, and he strikes a fun chemistry opposite Fleming that belies the serious stuff “IF” digs into frequently. But unless your child is into old movies, they probably won’t get why “Harvey” is playing in the background in a scene. And when “IF” reaches its cathartic finale, some kiddos might be wondering why their parents are sniffling and tearing up – if they're still paying attention and not off playing with their own imaginary friend by then.

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• ‘Megalopolis’: What The Critics Are Saying

By Andreas Wiseman

Andreas Wiseman

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After months of speculation, the critical book has finally been opened on Francis Ford Coppola’s Megalopolis . The early word? Predominantly positive, with some very high highs and inevitably a few low lows.

Below, we run through some of the first reactions.

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He continued: “Halfway through, there’s a  very  audacious gimmick that tears down the fourth wall in ways younger filmmakers can only dream of. Coppola breaks many of the cardinal rules of filmmaking in the film’s 138 minutes but it upholds the most important one: it is never, ever boring, and it will inspire just as many artists as the audiences it will alienate.”

RELATED: ‘Megalopolis’ Debuts At Cannes With 7-Minute Standing Ovation

In a positive notice, Vulture’s Bilge Ebiri dissected the film’s “absolute madness” and called it the “craziest movie I have ever seen”: “There is nothing in  Megalopolis  that feels like something out of a “normal” movie. It has its own logic and cadence and vernacular. The characters speak in archaic phrases and words, mixing shards of Shakespeare, Ovid, and at one point straight-up Latin. Some characters speak in rhyme, others just in high-minded prose that feels like maybe it should be in verse.”

Indiewire’s David Ehrlich said on X: “The silliness is a feature, not a bug! a garish, epic, & utterly singular $120 million self-portrait that’s also a fable about the fall of ancient Rome & a plea to save our civilization (and its cinema) from itself. big fan.”

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Joshua Rothkopf of the Los Angeles Times also was warm in his reaction: “I thrilled to Megalopolis in all its overstuffed, crazy ambition. Only an uncharitable viewer would call it a catastrophe. It’s definitely not boring.”

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David Jenkins of Little White Lies was also in the pro camp, posting to X: “Desole haters… Megalopolis rules.”

The UK’s Daily Telegraph gave the movie four stars, saying, “Coppola’s latest is like Succession crossed with Batman Forever and a lava lamp…Aubrey Plaza is fantastic in this full-body sensory bath movie which follows a struggle for power among the elites of New Rome.”

Not everyone was as glowing. The Guardian gave the film only two stars, saying: “Coppola’s passion project is megabloated and megaboring.”

RELATED: Aubrey Plaza Says Francis Coppola “Doesn’t Need My Defense”, Reveals The “Collaboration And Experimentation” Of ‘Megalopolis’

Vanity Fair ‘s Richard Lawson echoed that theme, with the brand noting in its headline: “Francis Ford Coppola’s  Megalopolis  Is a Passion Project Gone Horribly Wrong”, before continuing, “Maybe some cinephiles will see value in the  Godfather  director’s long-gestating epic. Many more, though, will be left scratching their heads.”

Tim Grierson of Screen Daily went further, saying on X: “It pains me to say that Francis Ford Coppola’s Megalopolis is a disaster.”

RELATED: ‘Megalopolis’ Imax Global Release Will Be Limited; Release Date Contingent On U.S. Distribution But Late September Eyed For IMAX In 20 US Cities; Coppola Live Event Planned – Cannes

The official logline for the film reads: “ Megalopolis  is a Roman Epic fable set in an imagined Modern America. The City of New Rome must change, causing conflict between Cesar Catilina (Adam Driver), a genius artist who seeks to leap into a utopian, idealistic future, and his opposition, Mayor Franklyn Cicero (Giancarlo Esposito), who remains committed to a regressive status quo, perpetuating greed, special interests, and partisan warfare. Torn between them is socialite Julia Cicero (Nathalie Emmanuel), the mayor’s daughter, whose love for Cesar has divided her loyalties, forcing her to discover what she truly believes humanity deserves.”

As we revealed earlier this week , the movie recently scored distribution deals in key European territories. Speculation is rife about what will happen to the film in the U.S. Interestingly, the international deals are for theatrical rights only and TV and VOD rights have been held back by Coppola’s team, potentially paving the way for a global streamer-type deal down the line. 

After tonight, what’s clear is the movie has a number of prominent critical supporters, perhaps more so than anticipated. Could Coppola make history by becoming the first director ever to win three Palme d’Ors? That doesn’t seem such a remote possibility right now.

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Critics hated 'The Phantom Menace.' It might be time to reconsider

A Jedi and a Jar Jar walk into a movie... Maximum Film/Alamy hide caption

A Jedi and a Jar Jar walk into a movie...

The year is 1999. Fans are lined up around theaters. News stations are treating it like a breaking news event.

On May 19, Star Wars: Episode I — The Phantom Menace hit theaters, the first movie of the franchise to be released in well over a decade. It promised to tell the origin story of how Anakin Skywalker became Darth Vader.

Fans were so excited some camped out for days, sometimes even weeks, to see the film on opening day.

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"The original trilogy was so phenomenal," said one eager moviegoer. "People have been waiting for this for, like, 16 years." Another went so far as to say, "There are now eight wonders of the world, one of them being this movie."

When one reporter asked a crowd if there was any concern the movie might be bad, they responded with a resounding "No." Oh how wrong they were.

You're reading the Consider This newsletter, which unpacks one major news story each day. Subscribe here to get it delivered to your inbox, and listen to more from the Consider This podcast .

The consensus? It was a huge flop

NPR sent two critics to review the film. Neither had much good to say.

Here's how Tom Shales described the movie: "The new Star Wars movie Episode 1 — The Phantom Menace is a menace. It's not about storytelling and it's not about people ... it's about effects and technology. It's a computer movie through and through, by computers and maybe for computers."

NPR's Bob Mondello took issue with the infamous Jar Jar Binks: "'What could he have been thinking,' you say to yourself as [George Lucas] introduces a race of idol-worshiping primitives who speak with Caribbean accents and behave like refugees from Amos n Andy ."

The trailer for Star Wars: Episode I — The Phantom Menace

The backlash didn't stop there. People hated nine-year-old Darth Vader. They didn't like all the talk of taxes and trade embargoes.

Hating on The Phantom Menace has become somewhat of a punchline in Star Wars circles, says Erich Schwartzel, who covers the film industry for The Wall Street Journal and is writing a book about George Lucas and Star Wars.

He told NPR the hype only amplified the sting of disappointment: "It's really, looking back I think, the first example that I have, and maybe the film industry has, of the movie almost being beside the point."

25 years later, nostalgia has given the film new life

While the overwhelming consensus was The Phantom Menace was terrible, only a Sith deals in absolutes (sorry).

To understand how popular opinion on the film has changed, Schwartzel points to Jar Jar Binks. Schwartzel said most of the fans who grew up on the original Star Wars trilogy would have been in their late 20s or early 30s when they lined up to watch The Phantom Menace .

"[Jar Jar] represents the inherently childish nature of Star Wars, and how childish it can be," Schwartzel said. "I think Jar Jar is a bit of an affront to those fans, sort of being a reminder that this is also for kids."

Fans line up at the Ziegfeld Theatre in New York on May 6, 1999 to be the first to see the movie, Star Wars: Episode 1 — The Phantom Menace . Stan Honda/AFP via Getty Images hide caption

Fans line up at the Ziegfeld Theatre in New York on May 6, 1999 to be the first to see the movie, Star Wars: Episode 1 — The Phantom Menace .

Now that those kids, whose introduction to the Star Wars world was The Phantom Menace , are adults, it's unsurprising the film is remembered more fondly. The "prequel kids," as Schwartzel puts it, hold The Phantom Menace as dear to them as older fans revere A New Hope .

After a recent anniversary screening of the film in D.C., All Things Considered host Scott Detrow met 29-year-old Eleni Salyers, who said she's been a fan of the prequels since she was a kid: "For me it's nostalgic. Growing up I always preferred the prequels, which is a hot take for many Star Wars fans."

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To fans like Salyers, some of the best moments include the lightsaber fights, which compared to those in the original trilogy, are faster and flashier. The Phantom Menace also introduced fans to podracing, with its now iconic visual and sound effects.

The prequel trilogy has played a foundational role in building the Star Wars franchise into a "multigenerational juggernaut," Schwartzel said. He notes that if you look at the fire hose of Star Wars content Disney has released over the last decade, you'll see much of the themes and characters come from the world the prequels created.

This episode was produced by Marc Rivers. It was edited by Jeanette Woods. Our executive producer is Sami Yenigun.

• anniversary
• the phantom menace