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    Movie Review

    All Day and a Night tells familiar story with little unique flair

    Alex Bentley
    May 1, 2020 | 3:20 pm
    All Day and a Night tells familiar story with little unique flair
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    Although there are always exceptions to the rule, one’s circumstances growing up often dictate where he or she will end up in life. We are all products of the neighborhoods we grew up in, how wealthy or poor our families were, and the types of jobs our parents had, among many other factors.

    The new Netflix film All Day and a Night explores the upbringing of one particular African American boy, Jahkor (Ashton Sanders), and the impact it had on him. The film starts with Jahkor murdering a drug dealer over an unknown past slight, and proceeds to go back and forth in time to show various moments in his younger years and his time in prison after being convicted for the killing.

    Written and directed by Joe Robert Cole (co-writer of Black Panther), the film posits that Jahkor essentially never had a chance at escaping his current fate. His father (Jeffrey Wright) was a drug user and never missed an opportunity to teach a lesson to Jahkor through violence. His only role model was a drug dealer named Big Stunna (Yahya Abdul-Mateen II), and his best friend, TQ (Isaiah John), became an underling for another dealer.

    But Jahkor has a constant struggle between the angry man he has become and the type of person he wants to be. He has a baby with Shantaye (Shakira Ja’Nai Paye), and most of his moments with her show a different side than he puts on display with everyone else. He also has dreams of becoming a rapper, but he has limited resources for pursuing that goal.

    It’s difficult to tell the overall point that Cole is trying to make with the film. It’s certainly not news that many African Americans are susceptible to violence and drugs because of innumerable historical factors. Cole never seems to find a way to distinguish the story from other similar ones that have come before.

    Jahkor’s tale, while tragic on its own, doesn’t resonate in a way that would make it seem worth telling over that of any other similar character. Save for a few small moments, Jahkor has a one-note personality and rarely displays anything that would make him worthy of redemption.

    Sanders, who impressed as Chiron in the Oscar-winning Moonlight, certainly has a presence to him, but his performance seems to be in service of very little. Wright is a great actor, but he seems miscast both in age and temperament for his role. The most magnetic persona is Abdul-Mateen II, but he has relatively few scenes in which to show his talent.

    All Day and a Night takes place in a part of society that many of us will never know. While Cole does a great job of showing how dark and depressing that way of life can be, the film fails to give any true insight on why it’s that way or how it can be changed.

    Ashton Sanders and Jeffrey Wright in All Day and a Night.

    Ashton Sanders and Jeffrey Wright in All Day and a Night
    Photo by Matt Kennedy
    Ashton Sanders and Jeffrey Wright in All Day and a Night.
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    Movie review

    Over-the-top The Bride! makes other Frankenstein movies seem subtle

    Alex Bentley
    Mar 6, 2026 | 12:15 pm
    Christian Bale and Jessie Buckley in The Bride!
    Photo by Niko Tavernise
    Christian Bale and Jessie Buckley in The Bride!.

    The story of Dr. Frankenstein and his monster is now over 200 years old, with Mary Shelley’s book having been adapted or referenced in close to 500 films. Less common is the character of The Bride of Frankenstein, which existed in the original text but has more often than not been excised in adaptations. Writer/director Maggie Gyllenhaal has tried to rectify that by giving the character a big showcase in her new film, The Bride!.

    Gyllenhaal has reimagined the story as one in which a woman named Ida (Jessie Buckley) becomes possessed by the spirit of Shelley (also Buckley). At the same time, the already-existing Frankenstein’s monster (Christian Bale) approaches Dr. Euphronius (Annette Bening), who specializes in reanimation, with the request to make him a wife. When Ida falls to her death in an “accident” involving her boyfriend (John Magaro), the ideal corpse becomes available.

    After Ida’s resurrection, she and the monster become restless being studied by Dr. Euphronius and decide to break out to experience the world. The world, naturally, is not exactly welcoming to them, and soon the couple are on the run for causing mayhem, including a few murders. In hot pursuit are detective Jake Wiles (Peter Sarsgaard) and his assistant, Myrna Mallow (Penélope Cruz), as well as other authorities.

    It’s clear that Gyllenhaal wanted to merge the Frankenstein story with Bonnie & Clyde, especially since she sets the film in the mid-1930s. And that wouldn’t have been a bad idea if having the monster and The Bride going on a crime spree was truly the focus of the movie. But most of the time there’s less intentionality in their misdeeds and more confusion, leading to a muddled plot with no clear direction or end goal in mind.

    One of the biggest problems is that Gyllenhaal starts the energy of the film at an 11, giving her and everyone else nowhere to go but down. She dabbles in multiple different tones, at times going the straight drama route and other times making what seems like full-on camp. At one point, she even has the monster and the Bride in a dance sequence set to “Puttin’ on the Ritz,” which would be hilarious as an homage to Young Frankenstein if the film weren’t so disjointed.

    Most baffling of all is what Gyllenhaal wants from The Bride character. She morphs multiple times over the course of the film, from close to unintelligible at the beginning to rough-and-tumble at the end. There are hints at the lack of control she has over her autonomy, including Shelley’s possession of her and the monster lying to her about her past, but any commentary that Gyllenhaal might be trying to make gets lost amid the oddity of the film as a whole.

    Both Buckley and Bale are all-in for their performances, which definitely fall in the “love it or hate it” dichotomy. Each scene is pitched so high that there’s little nuance to either of them, and neither is on par with their previous Oscar-caliber roles. The high-powered supporting cast of Bening, Sarsgaard, Cruz, and Jake Gyllenhaal is watchable based on previous roles, but none of them elevate this particular movie.

    Whatever intentions Maggie Gyllenhaal had in making The Bride! are only halfway legible in a film that can never find its tonal footing. There has rarely been subtlety in movies featuring Frankenstein’s monster and related characters, but this one makes all the others seem like stuffy dramas in comparison.

    ---

    The Bride! is now playing in theaters.

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