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    Movie Review

    Beautiful Boy haunts with impact of drug use on one family

    Alex Bentley
    Oct 26, 2018 | 3:00 pm
    Beautiful Boy haunts with impact of drug use on one family
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    The horrors of drug addiction have long been chronicled in movies, ranging from the now-campy Reefer Madness to the brutality of Requiem for a Dream. It’s not often, though that much attention is paid to how a person’s addiction can affect their loved ones, as is the case in Beautiful Boy.

    Based on the memoirs of both David Sheff and his son, Nic, the film mostly chronicles a period in the late teenage years of Nic (Timothee Chalamet) when he goes down a rabbit hole of drugs from which he can’t escape. David (Steve Carell), a freelance writer for publications like The New York Times and Rolling Stone, tries everything he can to stop Nic from using, mostly to no avail.

    David and his ex-wife, Vicki (Amy Ryan), have been divorced since Nic was young, with David retaining custody. David has gone on to marry Karen (Maura Tierney), with whom he has two young kids. Despite this wealth of support, Nic gets deeper and deeper into drug use, culminating with what’s considered one of the most addictive drugs, crystal meth.

    Directed by Felix Van Groeningen and written by Van Groeningen and Luke Davies, the film takes a meandering journey through those years, with a number of flashbacks to earlier, happier times when Nic was young and innocent. While highly effective in tugging at the heartstrings, the flashbacks also serve to muddle the overall timeline. Most of the film is a flashback from an opening scene, so the bouncing back and forth does no favors in keeping the chronology of events straight.

    The story is unrelenting and unflinching right from the start. When we meet Nic, he’s already started his descent, so we’re not privy to knowing exactly what he was like when not on drugs, despite a few expository lines. Consequently, there’s something just a bit off when the film tries to go all-in on its emotions. It’s almost as if Van Groeningen is keeping us at arm’s length so we don’t receive the full brunt of feelings.

    Any parent will likely struggle watching the film, whether you’ve had the same experiences or not. The helplessness that David feels as Nic gets farther and farther away from the boy he knew is gut-wrenching.

    Left mostly unsaid in the film are any factors that might have led to Nic’s drug use. Might it have been the impact of the divorce, something that affected Nic years later despite a multitude of love? A scene of David and Nic sharing a joint is included, but it’s unclear if the filmmakers are trying to point to that as a causation, or merely one step in Nic’s drug usage.

    Through it all, the acting is impeccable. Chalamet was already hailed as the next big thing following his roles in Call Me By Your Name and Lady Bird in 2017, and this role only cements that status. Carell proves once again what a versatile actor he his, easily moving back and forth between drama and comedy. Tierney and Ryan are also great in their supporting roles.

    Like most films about drug addiction, Beautiful Boy is not a film you’ll likely want to watch more than once. Despite some faults, it’s a nicely layered film that should make anyone want to stay as far away from drugs as possible.

    Timothee Chalamet and Steve Carell in Beautiful Boy.

    Timothee Chalamet and Steve Carell in Beautiful Boy
    Photo by Francois Duhamel
    Timothee Chalamet and Steve Carell in Beautiful Boy.
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    Movie Review

    Podcaster lets creepy noises get under her skin in Undertone

    Alex Bentley
    Mar 13, 2026 | 10:30 am
    Nina Kiri in Undertone
    Photo courtsy of A24
    Nina Kiri in Undertone.

    While the horror genre is still capable of producing some innovative filmmaking, most of the output tends to fall back on jump scares and other tropes to deliver their terror. So when a film like the new Undertone tries something different, it should be applauded for the effort, even if it’s not as successful in its execution.

    Evy (Nina Kiri) is a podcaster who co-hosts a show called Undertone, which focuses on paranormal videos and sounds they find on the internet. Her co-host, Justin (Adam DiMarco), lives in London, so - for kind of contrived reasons - in order to make the time difference between them work, Evy records at around 3 am her time. Evy - who lives at home with her bedridden, dying mother - is the skeptic of the two, consistently debunking clips that Justin presents to her.

    Her doubts are tested when Justin brings in a series of 10 audio clips that purport to be about a boyfriend recording his girlfriend as she talks in her sleep. The audio begins in a lighthearted manner and quickly turns creepy and then sinister as unexplained things start happening. Evy senses that what she’s hearing is bleeding into her own world, especially when inexplicable actions take place in her mother’s bedroom.

    Written and directed by first-time feature filmmaker Ian Tuason, the film is effective early on when it introduces the story concept. Making great use of sound design, Tuason essentially puts the audience inside Evy’s head, where every little sound is heightened. Setting the podcast sessions in the middle of the night ups the anxiety level for both her and the audience.

    However, as the film goes along it gets a little tedious watching Evy listen to the audio, even as Tuason attempts to keep the film dynamic by moving the camera around her. The premise of the story - progressively going through 10 clips - and Tuason’s framing of shots that focus as much on the background as they do on Evy seem to promise more interesting results than actually transpire.

    What ultimately holds the film down more than anything is its lack of different viewpoints. The only other person who’s actually seen is Evy’s mother, who is unable to speak. Evy speaks to Justin, another friend, and a doctor over the course of the story, and while each broadens our understanding of Evy somewhat, none of them make her a truly three-dimensional person. Getting a little more information about her history might have helped the story work better.

    Kiri does her level best to vary her acting in the various podcast scenes, and even when they start to get repetitive, she remains compelling and watchable. It’s difficult to judge the other actors based on audio alone, but knowing that DiMarco also starred in season 2 of The White Lotus helps to visualize him and his acting style.

    Undertone does well in creating a spine-chilling mood, but it needed something beyond that to become a truly great horror movie. Tuason shows some promise as a filmmaker, especially in the way he uses the camera to create tension, but a more complete story will serve him better the next time around.

    ---

    Undertone is now playing in theaters,

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