i see you movie review in tamil

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• User reviews

A policeman and his doctor wife have some marriage problems and the son blames the mother. For his job, the policeman investigates a case of a missing boy. The possible kidnapping looks like... Read all A policeman and his doctor wife have some marriage problems and the son blames the mother. For his job, the policeman investigates a case of a missing boy. The possible kidnapping looks like some cases from a few years ago. A policeman and his doctor wife have some marriage problems and the son blames the mother. For his job, the policeman investigates a case of a missing boy. The possible kidnapping looks like some cases from a few years ago.

• Adam Randall
• Devon Graye
• Owen Teague
• 817 User reviews
• 111 Critic reviews
• 65 Metascore
• 1 win & 1 nomination

• Jackie Harper

• Greg Harper

• Alec Travers

• Connor Harper

• (as Greg Alan Williams)

• Lieutenant Moriah Davis

• Officer Grace Caleb
• (as Allison King)

• Window Repairman

• Justin Whitter

• Mrs. Whitter

• (as Teri Clark Linden)

• Tommy Braun

• Young Tommy Braun

• Young Alec Travers
• (as a different name)
• Michael King
• (as Aiden Ransom)
• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

• Trivia Opening scenes shot in Chagrin Falls, Ohio.
• Goofs When the mug falls onto Todd's head. The phone is face down. But later on when it shows the perspective of the Alec and Mindy the phone is face up.

Alec : But isn't that part of the fun, almost getting caught?

• Connections References The Stepford Wives (1975)
• Soundtracks A Man At The Frontier Written and Performed by Marc Morvan and Ben Jarry P&C Garine Published by Garine

User reviews 817

• Dec 7, 2019
• How long is I See You? Powered by Alexa
• December 10, 2019 (Canada)
• United States
• United Kingdom
• Vụ Mất Tích
• Chagrin Falls, Ohio, USA
• Head Gear Films
• Kreo Films FZ
• Metrol Technology
• See more company credits at IMDbPro
• $3,000,000 (estimated)

Technical specs

• Runtime 1 hour 38 minutes

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Rent I See You on Fandango at Home, or buy it on Fandango at Home.

What to Know

I See You gets tripped up on its own narrative contortions, but a solid cast and an effective blend of scares and suspense make this slow-building mystery worth watching.

Audience Reviews

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Adam Randall

Jackie Harper

Greg Harper

Judah Lewis

Connor Harper

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Exploring the Twisty Plot of “I See You” Ending Explained

I See You : I See You is a gripping thriller movie that will leave you on the edge of your seat. The story revolves around a family living in a small town in Ohio, and the eerie occurrences that begin happening in their home. With a twisted plot and unexpected ending, “I See You” is a must-watch for any fan of the genre.

I See You Review

“I See You” is a psychological thriller that will keep you guessing from start to finish. The film is well-acted, well-written, and well-directed. The story is both creepy and thought-provoking, and the film’s twisty plot will keep you on your toes.

I See You Recap

The movie begins with the disappearance of a young boy in a small town in Ohio. Detective Greg Harper, played by Jon Tenney, is assigned to the case. However, strange things begin happening in Harper’s own home, including the appearance of mysterious and creepy messages. As the story unfolds, Harper’s personal life becomes intertwined with the investigation, and the audience is taken on a journey full of unexpected twists and turns.

What Happens At The End Of I See You?

Without giving away too much, the ending of “I See You” is full of twists and turns that will leave you surprised. The film’s final act ties together all the loose ends in a satisfying and unexpected way.

I See You Ending Explained

“I See You” has an ending that is sure to leave you speechless. The film’s final act reveals the true identity of the mysterious and creepy figure that has been terrorizing the Harper family. It also ties together all the loose ends in a way that is both unexpected and satisfying.

I See You (2019) – Movie Review

I See You (2019) is worth seeing even for the most jaded horror fan.

If you’ve seen a lot of horrors and psychological thrillers in your time, you might think you’ve seen it all. Although a lot of the same ideas seem constantly revisited and recycled, there are still some good films that add a fresh take to the familiar and surprise you. 

Examples like Get Out and It Follows spring to mind. And filmmakers know that movie audiences today view films through a lens created by having seen a lot of movies. It’s hard to find something entirely original these days.

Sci-Fi Horror Movies: 10 Frightening Films That Make You Think

But once in a while, something comes along out of nowhere, and doesn’t try to grab you with cheap scares and predictable jumps. Sometimes, a movie can go back to basics and remember it’s all about your story and character. 

Further to that, sometimes a movie can introduce you to a story and characters where you think you know what’s going on… then quietly reveal that you really know nothing at all. 

This is the approach used by the brilliant I See You (2019). Now included with Amazon Prime and starring a somewhat unrecognizable Helen Hunt , the film quickly pulls you in and doesn’t let you go. 

You won’t want to let go either. Even if the majority of I See You (2019) is set in a house, its part in the story is more important than we are first led to believe. 

The backdrop of this exceptional thriller is the story of an abducted boy from a small Midwestern town. Assigned to the case is long-time homicide detective Harper ( Jon Tenney ), also the husband of Jackie ( Helen Hunt ). Together, they have one teenage son, the distanced and troubled Connor ( Judah Lewis ). 

A rift has torn through the family. As they try to repair their relationships, they can’t help but feel unsettled. That a presence is lurking in their home. One that leads them to see one thing while another happens behind closed doors. 

As events unfold close to home and in the town, the case of the missing boy takes an unpredictable turn. The real heroes and villains of the piece present themselves in totally unexpected ways. 

Honestly, that’s all I can say about I See You (2019) without revealing the film’s expertly crafted twists and turns. They truly hit you out of left field. You feel left in shock that you didn’t see plot developments coming.  

If you’re patient and like movies that make you think, then take the journey with I See You (2019). You will be richly rewarded. It’s sumptuous cinematography and eerie score perfectly build the sense of malice and dread that doesn’t let up. 

You may also question the sounds you hear in your own home at night, when tucked in bed and you hear a bump.

Curious? Do yourself a favour and watch I See You (2019). It may not be making a huge splash on the movie scene yet. But given enough time I’m sure it will garner a quiet word of mouth and a large, respectful following.

Trailer: I See You

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I See You Movie Review: I See You Movie

I see you review 1.5/5 & rating. watch i see you official trailer video, listen songs, movie news updates, movie review and checkout public movie reviews soon., i see you review {1.5/5} & review rating.

Cinema-going experiences, like culinary encounters, can either stimulate you or put you off completely. When you enter a cineplex

to watch Arjun Rampal?s first outing as a producer, I SEE YOU, you expect to watch a soft-on-your-senses, feel-good multiplex

movie since the promotions have been very specific, very direct on that front.

I SEE YOU, directed by debutante Vivek Agrawal, is targeted at the multiplex junta, but right intentions don't necessarily translate

into right films. The problem with I SEE YOU is that it works in bits and spurts, not in entirety.

It's not blasphemous to be inspired by a Hollywood film [JUST LIKE HEAVEN; starring Reese Witherspoon, Mark Ruffalo], but

writer Suresh Nair and director Vivek Agrawal should've ensured that the desi adaptation appeals to Indian sensibilities and

is captivating enough from start to end. Sure, I SEE YOU has its share of interesting moments, but the recipe [screenplay] used for

cooking this dish lacks a few vital ingredients.

To sum up, I SEE YOU is the kind of film that works best on the tube or DVD circuit. As far as its theatrical business is concerned, it

might find its share of advocates in a handful of multiplexes of Mumbai, Delhi, Kolkata and Bangalore mainly, but even that segment

of viewers would be minimal.

Another factor that goes against the film is its release period. To expect viewers to rush to a nearby theatre on 31st December

[Sunday] or 1st January [Monday] would be foolhardy. The cinema attendance goes downhill during those days and expecting the

business to pick up from Tuesday onwards is like expecting snowflakes in Mumbai.

Story: Raj [Arjun Rampal] is the star attraction on the TV show British Raj. One evening, Raj finds an unexpected visitor in his

house -- Shivani [Vipasha]. Is he dreaming' Is she for real' At first Raj thinks his friends are out to make a bakra . But he

realizes that Shivani is a spirit.

Shivani breezes in and out of his home and office whether he likes it or not. Unfortunately, Raj is the only one who seems to be able

to see her or talk to her. His friend Akshay [Chunky Pandey] thinks it's an alibi and also arranges for a meeting with a shrink

[Boman Irani] on his wedding anniversary.

Gradually, Raj falls in love with Shivani. But Shivani and Raj have to find answers to questions that led to Shivani's current state.

I SEE YOU is a ghost story, but it doesn't belong to the BEES SAAL BAAD or BHOOT variety. It's not on the lines of Ramsay

productions either. A love story revolving around a spirit and an ordinary mortal, the plot focuses more on humor and romance

than spine chilling or tense moments.

Although the premise is refreshingly different for Indian audiences, the manner in which writer Suresh Nair and director Vivek

Agrawal open the cards is what gives you hiccups. In the first place, no explanations are offered as to why Arjun alone can see

Vipasha. Also, she can't touch a telephone, but the twist in the tale has her opening the door of the room where her comatose body

lies. How did she manage that' Chalo, maan liya , spirits in Hindi movies can even break into songs and dances, but the

opening of the door is like double crossing Arjun since the cop [Michael Maloney] is already at the doorstep.

Even the finale -- the mystery behind Vipasha's accident is solved and the doctor is arrested -- is far from convincing. A few minutes

earlier, didn't we see the doctor and a nurse entering Vipasha?s room in the hospital and even injecting a drug to put her to sleep

forever? So how did the cop [Michael Maloney] reach there from the BBC Studio [he's being interviewed 'Live'] and how did

Vipasha suddenly come alive? It's a screenplay of convenience!

In a nutshell, I SEE YOU tries too hard to appeal to the heart, but it forgets that moviegoers have thinking minds too.

On the plus side, a few individualistic sequences are well executed. The initial portions -- Arjun refusing to believe Vipasha is a

spirit until he visits the hospital -- are interesting. The humor-laden sequences involving Chunky Pandey also keep you in splits.

The finale -- Vipasha disappearing from Arjun's arms [faulty writing] -- is well handled too. Ditto for the end -- Arjun introducing

himself to Vipasha at an eatery -- is worthy of note.

Vivek Agrawal had the opportunity to play with special effects since the protagonist is a spirit, but the storyteller doesn't utilize this

aspect in the narrative. Also, his choice of the story is perfect, but not the screenplay. How could he okay a faulty script in the first

place' Vishal-Shekhar's music is pleasant. 'Subah Subah' and 'Halo' are two noteworthy tracks in the narrative. In fact, the set

d'cor and choreography [Shiamak Davar] of the 'Halo' track is superb. Ashok Mehta's cinematography is delightful. Dialogues

[Niranjan Iyengar] are strictly kaam-chalau .

I SEE YOU rests on Arjun's shoulders. Arjun is efficient in a role that doesn't really demand histrionics. He has proved his

credentials in the past and his performance in this film is at par with his earlier works. He works best in the dramatic portions.

Vipasha may not be gorgeous to look at, but she's a decent actor.

Chunky Pandey is only getting better with every release. He registers an impact. Kirron Kher gets very little screen time. Boman

Irani tries hard to make you laugh. Sonali Kulkarni also has a miniscule part. Sophie Chaudhary adds to the glamour quotient. Her

scenes with Arjun [especially the one at the start, when Vipasha lands up at the studio] are truly funny. Michael Maloney [the

Hindi-speaking angrez cop] is good.

Shah Rukh Khan and Hrithik Roshan make fleeting appearances in the 'Subah Subah' song. While SRK is strumming a guitar,

Hrithik breaks into a small jig.

On the whole, I SEE YOU could've been an interesting fare, but is letdown by a lopsided screenplay. At the box-office, the lack of

face-value and an inopportune release period [people don't like to spend New Year in a cinema hall] will only add to its woes.

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I See You Movie News

B.O. Update: 2007 starts on cold note

'Risk' shifted ahead by one week

An 'alag' action film!

B.O. update: 'I See You' has a poor start

'I See You' exclusive screening held

Postponed by one week!

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User Reviews

rabbipantho

It is a nice and simple film.

nikhilwason

True, 'I See You' is an exact replica of 'Just like Heaven'. The entire plot has been copied…

This movie was pretty descent I think that the songs made this movie worthwhile, but it is nothing…

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I See You (Movie Review)

Sophie's rating: ★ ★ ★ ★ director: adam randall | release date: 2019.

Much has been made in the last few years about the effects of streaming distribution on the cinema landscape. The expansion of viewing options has created opportunities for movies that may have never seen the light of day to find an audience. With all of these options though, it’s to be expected that things will get lost in the shuffle. I See You is just one such title. Released in the second half of 2019, I See You caught my attention when it was recommended by a critic I respect, Noel Murray . On its face, I See You might look like just another straight-to-streaming horror movie, but it is definitely bringing something to the table.

Written by Devon Graye and directed by Adam Randall, I See You is set in a small Ohio town, along the shores of Lake Eerie (how appropriate) where young boys have started to go missing. The disappearances seem to parallel an earlier series  of murders, but a man is already in jail for those. Our lens into the story is through Detective Greg Harper (Jon Tenney), who is working the case. As his investigation leads him deeper, strange occurrences start befalling him and his family. They start finding things in different places than they were left and hearing people in the house when they believe they’re alone.

For a relatively new director, Adam Randall, and cinematographer Phillip Blaubach prove that they have a great eye for visual tension. The movie features several drone shots - which have become so prominent over the last several years any filmmaker, despite their budget, can throw in a birdseye shot of a car winding down a road. In I See You , however, the drone shots are used to great effect. The Harper’s live in a house that is right on the water, and we get a few shots of their home from above, where it appears to sit on a precipice between the clean suburban order of their neighborhood and the uncontrollable chaos of the waves. We also get a number of shots that feel like a disembodied POV, creating a sense that the audience is along for the ride whether they want to be or not. Even when a traditional camera is employed, the film manages to create some really memorable sequences. A scene where a child appears to be ripped from his bike in slow motion, as though being plucked by an invisible hand, is a particular stand out.

Horror has long chosen places and apparent truths that we take for granted as secure in order to show just how vulnerable we really are. Think about John Carpenter's Halloween and the way it made the sleepy suburban street a hunting ground. I See You carries on in this tradition, following the Harper's as they begin to feel less safe in their home and the chaos that churns outside starts to creep ever closer and even inside their own walls.

I See You is a thrill ride from start to finish. The story will keep you guessing and the tension will keep you on the edge of your seat. With options that feel limitless, this is a movie that you don’t want to miss. Cue this movie up and see how safe you feel in your own home once you’re done.

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Sophie's introduction into the magic that is the horror genre was watching Halloween at a party in high school, and since then she's never looked back. She may be the wimpiest horror fan you have ever met, but she won't ever let that stop her!

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• Who are the actors in 'I See You'? 'I See You' star cast includes Helen Hunt, Jon Tenney, Judah Lewis and Libe Barer.
• Who is the director of 'I See You'? 'I See You' is directed by Adam Randall.
• What is Genre of 'I See You'? 'I See You' belongs to 'Crime,Drama,Horror' genre.
• In Which Languages is 'I See You' releasing? 'I See You' is releasing in English.

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‘The Idea of You’ Review: Surviving Celebrity

Anne Hathaway headlines a movie that’s got a lot to say about the perils of fame.

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By Alissa Wilkinson

Women of a certain age (that is, my age) feel like they grew up alongside Anne Hathaway, because, well, we did. We were awkward teens together when she made “The Princess Diaries” in 2001. We felt ourselves to be put-upon entry-level hirelings right when “The Devil Wears Prada” came out in 2006. We understood her broken-down narcissistic addict in “Rachel Getting Married,” because who couldn’t? And we watched the Hathaway backlash, pegged to public perception that she was trying too hard, and worried that people saw us the same way.

Now we’re 40-ish. We know for sure that Gen Z considers millennials to be cringe, and, thankfully, we no longer feel the need to care. The greatest gift of reaching middle age is having settled into yourself, and that is apparently what Hathaway, age 41, has done . She has been through the celebrity wringer (and more ) and come out the other side looking radiant, with a long list of credits in movies that swing from standard commercial fare to auteurist masterpieces.

This is perhaps why it’s so satisfying to see her name come first — alone, before the title credit — in “The Idea of You,” which is on its surface a relatively fluffy little film. Based on the sleeper hit novel by Robinne Lee, “The Idea of You” is plainly fantasy, in the fan fiction mold, that poses the question: What if Harry Styles, the British megastar and former frontman of One Direction, fell madly in love with a hot 40-year-old mom? In this universe, the Styles character is Hayes Campbell (Nicholas Galitzine), the British frontman of a five-member boy band called August Moon.

Hathaway plays Solène Marchand, an art gallery owner whose arrogantly useless ex-husband, Daniel (Reid Scott), buys v.i.p. meet-and-greet tickets for their 16-year-old daughter, Izzy (Ella Rubin), and her two best friends, all of whom were huge August Moon fans … in the seventh grade.

The event is at Coachella, and Daniel is set to take the teenagers but backs out at the last second, citing a work emergency. Solène reluctantly agrees to take them, and while at the festival, mistakes Hayes’s trailer for the bathroom. They meet, it’s cute, and you can guess what happens next.

Or can you? It was clear about 10 minutes into the movie that what was required for enjoyment was to surrender to the daydreaming, and so, with very little internal protest, I did. How could I resist? Solène is smart, competent, kind and secure; she has great hair and a great wardrobe; and most important, she seems like a real person, even if the situation in which she finds herself greatly stretches the bonds of credibility.

More than once, I was struck by how authentically 40 Solène seemed to me — a woman capable of making her own decisions, even ones she thinks might be ill-advised — and how weirdly rare it is to see that kind of character in a movie. She has a kid, and friends, and a career. She reads books and looks at art, and she is flattered by this 24-year-old superstar’s attention but takes a long time to come around to the idea that it may not be a joke.

Solène also feels real shame and real resolve in the course of the winding fairy tale story, which predictably has to go south. But most of all, she’s in a movie that doesn’t try to shame her, or patronize her, or make her appear ridiculous for having desires and fantasies of her own. She’s just who she is, and it’s simple to understand her appeal to someone whose life has never been his own.

Directed by Michael Showalter, who wrote the adapted screenplay with Jennifer Westfeldt, “The Idea of You” succeeds mostly because of Hathaway’s performance, though she and Galitzine spark and banter pleasurably (and he can dance and sing, too). It tweaks the novel in a number of ways — Hayes is older than the book’s character, for one thing — and also seems to implicitly know it’s a movie, and that movies have a strange relationship with age-gap romances.

In fact, that’s one of its strengths. Several times, characters remark on the double standard attached to people’s judgment of Solène and Hayes’s relationship, hypothesizing that in a gender-swapped situation, people would be high-fiving the older man who landed the hot younger star. Sixteen years looks like a lot on paper, but in the movies, at least, it is barely a blip.

That musing is interesting enough, if a familiar one. More fascinating in “The Idea of You” is its treatment of the cage of celebrity. Hayes seems mature compared with his bandmates and the girls who follow them around, but he’s also clearly stuck in some kind of arrested development. And I do mean stuck: He is self-aware enough to tell Solène, plaintively, that he auditioned for the band when he was 14 and not much has changed beyond his level of fame. He wants a life beyond the spotlight, badly.

And that’s just what he can’t get. Neither can Solène, nor, eventually, anyone around her. The idea of living a quiet life might obviously be out of reach, but the added elements of tabloid news and rabid fans unafraid to treat Hayes as if they know him make things far worse. The film starts to feel a little like the tale of a monster, but the monster is parasociality, encouraged by the illusion of intimacy that the modern superstar machine relies on to keep selling tickets and merch and albums and whatever else keeps the star in the spotlight.

It’s probably coincidental that “The Idea of You” comes on the heels of Taylor Swift’s latest album, “The Tortured Poets Department,” on which she strongly implies that her carefully cultivated fandom has made her love life a nightmare. But spiritually, at least, they’re of a piece — even if the origins of the film’s plot seem as much borne of parasociality as a critique of it. And that makes Hathaway’s performance extra poignant. She’s been dragged into that buzz saw before. And somehow, she’s figured out how to make a life on the other side of it.

The Idea of You Rated R for getting hot and heavy, plus some language. Running time: 1 hour 55 minutes. Watch on Prime Video .

Alissa Wilkinson is a Times movie critic. She’s been writing about movies since 2005. More about Alissa Wilkinson

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Tv/streaming, collections, great movies, chaz's journal, contributors, catching fire: the story of anita pallenburg.

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"I've been called a witch, a slut, and a murderer. Maybe people confuse me with the characters I play in films ... like I'm an empty vessel onto which they project their fantasies and their shortcomings, but I don't need to settle scores. I'm reclaiming my soul. I write as a woman searching for another adventure." 

Thus begins Alexis Bloom and Svetlana Zill ’s documentary “Catching Fire: The Story of Anita Pallenberg .” Scarlett Johansson provided the voice-over, reading from an unpublished memoir written by model-actress-artist-icon Anita Pallenberg. Found by her children after her death in 2017, the words contained "will anger the lawyers,” she wrote. If only the rest of the documentary lived up to the vibrant voice Pallenberg established for herself. 

Like any number of recent bio-docs, the filmmakers use archival footage, film clips, photographs, and interviews with those who knew her, including director Volker Schlöndorff , her children Marlon and Angela, and even Keith Richards himself, to craft a surface-level reassessment of Pallenberg’s life. An audio clip from similarly sidelined icon Marianne Faithful states, "Neither of us wanted to be with them because we wanted their power. We had our own power." Yet, the documentary mostly anchors Pallenberg’s life around her time with The Rolling Stones .

A quick blast to the past sets up Pallenberg’s youth as a self-described “wild child” who grew up with conservative Italian-German parents who lost everything during WWII. This prelude tells us how deeply her childhood during the war affected her behavior. Still, this thread is abandoned later in the doc, aside from one assertion that she and Richards understood each other because they were both children during the war. 

The rest of the documentary follows her whirlwind life after coming to America in 1963 and befriending the downtown art scene, which included Jasper Johns, Andy Warhol , and Allen Ginsberg . “I loved the feeling of culture exploding,” she says about her time in New York City. We get a laundry list of miscellaneous jobs she performed without much exploration of exactly what she hoped to express as an artist. 

Instead, we get a very detailed re-telling of how she met the Rolling Stones and fell in love with Brian Jones , whom she described as her "doppelganger.” This was a mutually destructive, co-dependent relationship filled with drugs (and eventually violence) from Jones. This section of her life is illustrated with heaps of archival material that adds a cool sheen to everything, smoothing over its lack of any actual substance. 

One of the few times we learn anything about Pallenberg as an artist comes from director Schlöndorff’s stories of making “Degree of Murder” with her. This then transitions into a wonderful discussion of her larger-than-life talent as “The Great Tyrant” in the camp classic “Barbarella.” Of all the talking heads, Schlöndorff appears to be the only one interested in who Pallenberg was as an artist and keeping that part of her legacy alive. 

Of course, this is also the time in her life when her relationship with Jones imploded; she found solace with Richards, who would be her partner for the next decade, and also a brief fling with Mick Jagger while they made Nicolas Roeg ’s " Performance " together. And yes, it is interesting that both " Gimme Shelter " and "You Can't Always Get What You Want" were written about her. Still, the doc would have been stronger if it interrogated how she felt about what she inspired rather than dwelling on the salaciousness of it all. 

Again, it proves just how deeply rooted this film is in telling Pallenberg's story by who she was in relation to all these men. Despite claiming otherwise in its marketing, this doc still wants to uphold her as the rock n’ roll goddess of the headlines rather than as a person on her own terms. Because we only get curated sections of her unpublished memories, which are few and far between, it remains unclear how much of her memoir explores her wants, desires, and inner thoughts. Did she write about her children? Did she write about her artistic drive? 

Worst of all, the most notorious stories from this period of her life—her affair with Jagger, fleeing with Richards and their children to Switzerland to avoid jail time for their illegal drug use, the death of their third child, the “Deer Hunter” inspired death of Scott Cantrell—are all told from an outsider's perspective. We never really get to know how these incidents affected Pallenberg. We only glimpse her inner life in relation to her darkest moment. On trying to kick her heroin addiction, Pallenberg wrote that she "felt like some nasty person who caused death and destruction around her." Up to this point, that’s all the doc has allowed her story to be.

She and Richards split for good in 1979, and Pallenberg was finally able to get sober. Yet, although the film is titled "The Story of Anita Pallenberg," it loses all interest in Pallenberg's life once her story parallels that of the Stones. Even with a two-hour runtime, the documentary reduces the last forty years of her life, in which she began modeling again and returned to film acting, among other artistic pursuits, to a cursory montage and some kind words from Kate Moss . Why is this part of her life not worth true inclusion? Why do Bloom and Zill not deem it integral to her story?

In a final piece of voiceover, Pallenberg says, "Writing this [memoir] has helped me emerge in my own eyes." Too bad, then, that her story has been filtered through eyes that still only see her as a mess or a muse, not the complex, imperfect artist, mother, and woman she really was. 

Marya E. Gates

Marya E. Gates is a freelance film and culture writer based in Los Angeles and Chicago. She studied Comparative Literature at U.C. Berkeley, and also has an overpriced and underused MFA in Film Production. Other bylines include Moviefone, The Playlist, Crooked Marquee, Nerdist, and Vulture. 

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Catching Fire: The Story of Anita Pallenberg (2024)

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Anita Pallenberg as Self

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Watch a tense romantic triangle play out on the tennis court in 'Challengers'

Justin Chang

Art (Mike Faist), Tashi (Zendaya) and Patrick (Josh O'Connor) are embroiled in a love triangle in Challengers . Metro Goldwyn Mayer Pictures hide caption

Art (Mike Faist), Tashi (Zendaya) and Patrick (Josh O'Connor) are embroiled in a love triangle in Challengers .

As much as I liked his Suspiria remake and his cannibal thriller Bones and All , it's nice to see the Italian director Luca Guadagnino make a movie that doesn't end with buckets of blood. His new sports movie, Challengers , instead comes drenched in buckets of sweat, and it's the most purely entertaining thing he's made in years. It gives us a romantic triangle set in the world of tennis, and it stars three superb actors in roles that are as athletically demanding as they are emotionally rich.

It begins on a tennis court in New Rochelle, a town just north of New York City, the site of a prestigious second-tier competition known as a Challenger tournament. On one side of the net is Art Donaldson, played by Mike Faist. Art has won three of the four Grand Slam events but has now hit a bit of a slump. He's squaring off against his former best friend, Patrick Zweig, played by Josh O'Connor. Patrick hasn't had as illustrious a career as Art, but he may well be the more gifted player.

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Watching them anxiously from the stands is Art's wife and coach, Tashi Duncan, played by Zendaya. It's clear that these three characters have some complicated history, which Guadagnino and the screenwriter Justin Kuritzkes proceed to unravel through a dizzying array of flashbacks.

And so we jump back 13 years to when Art and Patrick are buddies and doubles partners. Around this time they meet Tashi, a terrific tennis player who's about to begin her first year at Stanford. The boys begin a friendly competition for Tashi's affections, which the more confident Patrick initially wins. But after various ups and downs, including a twist that derails Tashi's tennis career, she winds up marrying Art and becoming his coach. Now, years later, this fateful Challenger tournament has brought the estranged Art and Patrick face-to-face once more. It's here that Patrick privately confronts Tashi and makes a startling proposition, asking her to be his coach.

The Zendaya-led 'Challengers' is much more than a sexy tennis movie

Even when all the toggling between past and present gets a little repetitive, Challengers throws off an unstoppable energy. In the tennis scenes, the camera seems to be everywhere at once, and a hypnotic techno score, by Trent Reznor and Atticus Ross , pulses and surges beneath the action. And like Guadagnino's Call Me by Your Name , Challengers has a forthright sensuality that reminds you how sexually timid most mainstream American movies are by comparison.

There isn't all that much sex in the film, but there's so much erotic tension and atmosphere that it doesn't matter. Guadagnino is a master of the tease — and so, it turns out, is Tashi. In one early, flirty scene with the three of them, Tashi not only maintains the upper hand, but also reveals that these two dudes might be more attracted to each other than they let on. As the years pass, though, their youthful desire for Tashi gives way to a deeper need.

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As Art, Faist shows as much live-wire physicality here as he did in the West Side Story remake, though his performance becomes more melancholy over time as Art faces his limitations. O'Connor, by contrast, is all swagger as Patrick, forever leading with his devilishly charming smile. And then there's Zendaya, who's so brilliant in her early tennis scenes that I wish Tashi hadn't been sidelined and forced into playing the role of mentor and muse to two men. But as in the recent Dune: Part Two , Zendaya keeps you watching with her mix of fierce intelligence and emotional uncertainty — over who will win the match, and what it might mean for her future.

They're in love and they eat people, in 'Bones and All'

Will Tashi stick with Art, the safe, skillful player who may not have the gumption to be one of the all-time greats? Or will she return to Patrick, the superior but more volatile talent? The movie resolves this quandary in a grand finale that's at once thrilling and maddening in the way it pushes this triangle and this tennis match to the breaking point. But by then, you can't blame Guadagnino for loving his characters so passionately, or feeling so reluctant to let them go. If it were up to him, the game would never end.

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The Idea of You review: Tepid film does disservice to Anne Hathaway

The idea of you review: what comes between anne hathaway and nicholas galitzine's romance is their age difference, as filtered through social media. but the idea of you has no idea of how to take it forward, or to even leave it sideways..

There is a film out there about what happens when a famous celebrity falls in love with the owner of a quaint store. That would be Notting Hill, the film you would be better off watching than this tepid Prime Video release, where Anne ‘The Princess Diaries’ Hathaway and Nicholas Galitzine, the closeted gay prince from Amazon’s diligently sizzling Red, White and Royal Blue, take a romp in several luxurious beds and raise barely enough spark to light a matchstick.

In what the film clearly considers a bold departure, what’s different is that Hathaway’s Solene (an art gallery owner) is 16 years older than Galitzine’s Hayes (a boy band heartthrob). When they are thrown together due to circumstances that are extremely contrived, he falls hook, line and sinker – for pretty hazy reasons. She resists, even if the film bluntly establishes that as a 40-year-old divorcee raising a teenage daughter (Rubin, a wrong choice, as she looks far older than 16 and too close to Hathaway in age), Solene doesn’t have much fun in her life.  

Well, if Hayes’s lispy English accent and lazy good looks can be drool-worthy, Solene as a committed art dealer perhaps should have pushed back more. Here, she is selling some dubious pieces in all seriousness as precious art – a routine calendar with markings on it is described as “self-portrait of life as an artist” – and there he, like a sane, ordinary person, has his doubts.  

But when Hayes buys “all the pieces” in her gallery as part of his seduction act, Solene is very happy to sell them to a man buying “art like apples”.

No, so that is not much of a source of friction between them, nor Hayes’s juvenile song lyrics, his tiring concerts, his band members’ stupid antics, or even, in a completely unlikable scene, Solene and Hayes emptying out the rotting contents of a broken-down fridge.

What comes between them is the age difference, as filtered through social media. But The Idea of You has no idea of how to take it forward, or to even leave it sideways. It just drifts along, only randomly hitting some right notes (Rubin’s Izzy has a nice reaction to the online trolling, and then not).

Of the film’s many crimes, the worst may be suggesting Hathaway is past her prime. She is the only one who might age well from this.

The Idea of You director:  Michael Showalter

The Idea of You cast:  Anne Hathaway, Nicholas Galitzine, Ella Rubin, Reid Scott

The Idea of You rating:  1.5 stars

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• 04 US says Israel should prevent attacks on aid convoys, Hamas diverting aid also unacceptable
• 05 BJP ‘punished’ Uddhav after go-ahead from Amit Shah: Shelar
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