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    Movie Review

    DisneyNature's Penguins tries too hard to march birds into our hearts

    Alex Bentley
    Apr 18, 2019 | 1:00 pm
    DisneyNature's Penguins tries too hard to march birds into our hearts
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    There is a long history of penguins' cuteness winning the day in movies. The 2005 documentary March of the Penguins grossed $127 million worldwide, the success of Happy Feet spawned a sequel, and the penguin sidekicks in the Madagascar series became so popular that they eventually starred in their own movie.

    All of which is to say that if anything should be a slam dunk, it is DisneyNature’s Penguins. Taking its cue — perhaps a bit too much — from March of the Penguins, it follows the journey of Adélie penguins as they make their annual migration to find a mate and create the next generation. Instead of focusing on the group as a whole, though, the filmmakers turn the film into a story about one specific penguin, whom they name Steve.

    Steve goes on quite the adventure, getting separated from the colony early on and trying to catch up for most of the film’s running time. He and the other penguins experience all the joys and perils of their kind, including finding a mate, making long treks for food, evading predators like leopard seals and killer whales, and more.

    The filmmakers, led by directors Alastair Fothergill and Jeff Wilson, decide to have actor Ed Helms not only narrate the film, but give voice to Steve as well. It’s an odd choice, given that the footage of the penguins is more than enough to provide all the drama and comedy you might need. Instead, Helms is required to describe the action seen on screen and then provide an inner monologue for what Steve might be thinking in certain situations.

    This technique highlights the peculiar need for some humans to anthropomorphize animals, as if doing so makes them more relatable. In this instance, it doesn’t make this one penguin any more or less interesting. In some sequences, it actually makes you question the honesty of the filmmakers, since keeping track of Steve among literally millions of other penguins would seem to be improbable, if not impossible.

    Still, the footage is as stunning as you’d hope from a good nature documentary. Given that the filmmakers have worked on series like Planet Earth, The Blue Planet, and Frozen Planet, the quality of their visual work should come as no surprise. Their commitment to documenting the birds and enduring the harsh Antarctic weather themselves comes through in every frame of the film.

    People love penguins in whatever form they are shown to us on screen, and their adorable nature is all over DisneyNature’s Penguins. It would have been nice if the filmmakers had trusted the material they had instead of trying to force the issue with some out-of-place anthropomorphizing of their subjects.

    Scene from DisneyNature's Penguins.

    Scene from DisneyNature's Penguins
    Photo courtesy of Walt Disney Studios
    Scene from DisneyNature's Penguins.
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    Movie Review

    Her Private Hell descends into an art-house fever dream

    Alex Bentley
    Jul 23, 2026 | 11:45 am
    Sophie Thatcher in Her Private Hell
    Photo courtesy of Neon
    Sophie Thatcher in Her Private Hell.

    Danish filmmaker Nicolas Winding Refn is not someone who plays nice with the general film world. His 2011 film Drive introduced him to American audiences in a big way, but that pulsating thriller was followed up with artier films like Only God Forgives and The Neon Demon that eschewed coherent plots in favor of moody, atmospheric pieces.

    Winding Refn, who hasn’t made a feature film in 10 years, has gone fully down the rabbit hole with Her Private Hell. Taking place in a liminal space that kind of resembles Earth but also feels like someone’s dreams/nightmares, the film focuses on Elle (Sophie Thatcher), an actor currently starring in a sci-fi film. Staying at a hotel with newcomer Hunter (Kristine Froseth), the two bond over their shared passion and the legend of Elle’s father, Johnny Thunders (Dougray Scott), who’s now married to Elle’s friend Dominique (Havana Rose Liu).

    After spending a good amount of (mostly incomprehensible) time with that group, Refn introduces Private K (Charles Melton), who seems to be living in post-World War II Japan. He is looking for his daughter, who might have been taken by a mysterious figure known as “Leatherman,” and he will stop at nothing to find her, fighting whoever stands in his way.

    It becomes clear almost right away that Winding Refn has no desire to engage in traditional storytelling in this film. The main characters wander through neon-drenched streets and buildings, which are often surrounded by a mist that is referred to on multiple occasions but never explained. Everyone speaks as if in a constant state of wonderment, and there are many moments where it’s unclear if events are actually happening, part of a movie-within-a-movie, or something else entirely.

    Unlike his previous films, Winding Refn has taken the characters in this film completely out of the real world, with every scene taking place in a sparsely decorated room or street that is obviously a movie set. While there are moments where this decision really works, especially the striking first shot of a human-like figure mixed in with a cityscape and clouds, most of the time it only adds to the stilted nature of the film as a whole.

    In fact, the entire movie has the feel of an avant-garde theater exercise. Every actor seems to be trying to outdo the others with awkward performances and out-sized reactions. Two very specific characters make appearances in both sides of the story for seemingly no reason other than to inject their weirdness into both spaces. The shocking violence that crops up on occasion would have more of an impact if it was related to anything intelligible.

    Thatcher (Companion) and Liu (Tuner) are among the young stars who have had breakout moments in recent years, but neither of them is served well by this hot mess of a movie. They, along with Melton, still demonstrate the talent they possess, but the oddity of the film weighs them down. Scott makes an impression for all the wrong reasons, while Froseth is called upon to play a character who might as well not be there at all.

    If there’s any kind of message that Winding Refn was trying to convey with Her Private Hell, it’s lost among the flashing lights, overload of pink, and jewel-like structures. Filmmakers who try to make art for art’s sake have a place in the world, but this film too often feels like people are making things up as they go, with no real goal in mind.

    ---

    Her Private Hell opens in theaters on July 24.

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