FILM REVIEWS:
ANNIVERSARY (USA 2025) **
Directed by Jan Komasa
Lionsgate gets serious with three serious productions this month. One is ANNIVERSARY, and the others are the recent KISS OF THE SPIDER WOMAN and GOOD FORTUNE. Lionsgate breaks the mold of their typical action and horror flicks.
ANNIVERSARY sees a family, parents, three daughters, and their son meet over several gatherings beginning with an anniversary, followed by Thanksgiving, then the father’s birthday, and at the end, another anniversary. Events evolve, causing drifts in political views, and the family faces problems trying to stay together as a whole.
The strong political leaning of the film is apparent from the very beginning, where the audience sees Ellen (Diane Lane, who also co-produced the film) giving a speech on how she is neither liberal nor conservative and prefers not to be inhibited by her work. “Sounds like America? “ she adds.
ANNIVERSARY blends two genres together - political thriller/drama and family drama.
In this film, aimed at being a gripping thriller, a close-knit family is caught in the turmoil of a controversial rising movement known as “The Change.” Ellen and Paul (Diane Lane and Kyle Chandler) witness their lives fall apart when Ellen’s former student, Liz (Phoebe Dynevor), reappears and starts dating their son, Josh (Dylan O’Brien). As Liz becomes a part of the Taylor family, tensions rise and loyalties are tested. Liz was a former student of Ellen in University where their ideas clashed. Liz now has a written book called “The Change’ signifying no more political parties but one America. Americans are frazzled and angry. Americans take sides. Liz is pro-change, while the family is anti-change. Ellen accuses Liz of using Josh and her family to further her cause. At one crucial moment in the film, Ellen threatens Liz with a kitchen knife, saying that she will kill her if she influences another one of her family. Liz’s role in “The Change” brings simmering conflicts to the surface, unraveling the fabric of the family just as the nation itself stands on edge during an alarming and challenging time of uncertainty.
Despite the high aims of the movie tackling political issues, the way in which the approach is taken feels manipulative and cheesy. The blending of the family drama and divisions enhances the cheesiness. The setup has echoes of “infiltration” narratives—someone from the past re-enters a seemingly stable family with hidden motives.
The main problem of the film is the balance of the family’s personal emotional stakes at hand and broader ideological themes that have been brought up. The drama seems overdone and the action setups manipulative, an imbalance leading to parts feeling didactic or emotionally hollow.
One feels sorry for the cast who try so hard to make the project work. The ensemble cast is led by Diane Lane, followed by Kyle Chandler, Zoey Deutch, Phoebe Dynevor, Dylan O’Brien, and McKenna Grace, doing their best the project credibility. Standing out is actor Dylan O’Brien playing Josh, the chief asshole who gets his comeuppance at the end/
ANNIVERSARY opens in theatres across Canada on Wednesday, October 29th.
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BLUE MOON (USA 2025) ***
Directed by Richard Linklater
BLUE MOON is the famous song written by Lorenz Hart, the subject of the new Richard Linklater film BLUE MOON. The film takes its title from the song by composer Richard Rodgers and lyricist Lorenz Hart. “Blue moon, you saw me standing alone…”
“He was alert and dynamic and fun to be around,” stated Oscar Hammerstein II.
“He was the saddest man I ever knew,” said Mable Mercer. (an English-born cabaret singer who performed in the United States, Britain, and Europe with the greats in jazz and cabaret.)
Lorenz Hart (died Nov. 22, 1943, New York City) was a U.S. song lyricist whose commercial popular songs incorporated the careful techniques and verbal refinements of serious poetry. His 25-year collaboration with composer Richard Rodgers resulted in approximately 1,000 songs, ranging from the simple exuberance of “With a Song in My Heart” (1929) to the glib sophistication of “The Lady Is a Tramp” (1937). The film opens with his leaving Sardi’s and collapsing on the street, uttering the word” Fuck” before passing out. The film then flashes back months earlier.
The setting is March 31, 1943. It is the opening night of the Broadway musical Oklahoma! – the first collaboration between Richard Rodgers (Andrew Scott) and his new lyricist Oscar Hammerstein II (Simon Delaney), following Rodgers’ split with Lorenz Hart (Ethan Hawke) after 24 years together. Rodgers and Hammerstein made the Best musical duo in musical history, including hits like THE SOUND OF MUSIC and SOUTH PACIFIC.
In BLUE MOON, director Richard Linklater crafts a riveting chamber piece set in real time at Sardi’s on the historic night in 1943 of Richard Rodgers’ (Andrew Scott) greatest triumph: the premiere of Oklahoma! There is the closing number of the musical with the hit song ‘Oklahoma!” also featured at the start of the film. Richard Linklater directs from Robert Kaplow’s script, based on Hart and Weiland’s letters. Ethan Hawke delivers a charming, lived-in performance as the troubled Rodgers’ former collaborator, lyricist Lorenz Hart, an alcoholic and marginally closeted raconteur grappling with the fact that Rodgers’ biggest success now belongs to a new partnership with Oscar Hammerstein.
As flowers and accolades pour into the restaurant, heralding a new era of American musicals, Hart holds court at the bar, regaling a plainspoken bartender (Bobby Cannavale) and a young, aspiring composer and military officer with stories. His current fixation is a 20-year-old Yale student, Elizabeth Weiland (Margaret Qualley), whom he reveres with a fervour that drifts between romantic longing and aesthetic worship.
The film is punctuated with many of Hart’s compositions, many played by the pianists at Sardi’s. The songs include, of course, “Blue Moon” and other recognizable songs.
Andrew Scott won the Best Supporting Performance at Berlin 2025. But the acting by Ethan Hawke deserves mention for his outstanding performance that should win him an Oscar nod. But the emphasis of Hart’s height is a bit too pronounced. His reactions after taking a shot at the bar are priceless. BLUE MOON marks another successful collaboration of Hawke with director Linklater.
BLUE MOON had its Toronto premiere at the Toronto International Film Festival this year, and opens in theatres on October 24th.
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BUGONIA (UK/USA/Canada/Ireland 2025) ***
Directed by Yorgos Lanthimos
This review contains spoilers, in the paragraph that is highlighted and in italics. Please skip the paragraph if you intend to watch the film.
The premise of BUGONIA has two conspiracy-obsessed young men kidnap the high-powered CEO of a major company, convinced that she is an alien intent on destroying planet Earth.
The two conspiracy-obsessed young men are Teddy (Jesse Plemons) and Donny (Aidan Delbis), who believe that Michelle Fuller (Emma Stone), the CEO of a large pharmaceutical company, is actually an alien from the Andromeda species who intends to destroy Earth.
Because of these beliefs, they kidnap her, the two of them masked and assault her outside her elaborate residence. They shave her head, believing that her hair is somehow meant to communicate with the mothership. If all this sounds outrageous, it is, and it is never explained how they came to such beliefs. Fuller plays along in order to escape, and her transportation, as she tells them, is thought to be a locked closet seems all too silly to be true. But Teddy Believes.
The film blends science fiction, dark comedy, thriller, and satire — exploring themes of conspiracy, grief, corporate power, the environmental crisis, alienation, and what happens when belief or paranoia becomes extreme. Roge
BUGONIA, a Yorgos Lanthimos film, is as weird and f**ked up as most of his early films like THE LOSBTSR, THE KILLING OF A SCARED DEER (his best film), and KINDS OF KINDNESS. Strictly for Lanthimos fans, as those unfamiliar with his work will be just too overwhelmed to make head or tail of all that is going on.
Lanthimos knows the film is not to be taken too seriously, though he goes all serious during the first half. He goes all put with ridiculous alien costumes (big oversized furry baggy attire) with odd colours and sets. Even the locked closet being the transportation of the alien, turns out to be true in a twist of the plot. Now thing one can say about a Lanthimos film, it is never boring, though the film is a bit of a slow burn at the start.
The excellent Jesse Plemons plays the main character, Teddy, in the film, after having lost a whole bunch of weight, though he is still recognizable. He was in KINDS OF KINDNESS, as in this one. He seems to have taken over Lanthimos’ favourite actor, Collin Farrell. Plemons plays his character straight to counteract the outrageous plot and character Lanthimos has built around Teddy.
BUGONIA is actually a remake/adaptation of the 2003 Korean film Save the Green Planet! by Jang Joon-hwan. It'd be more than interesting to watch the original Korean film to see how Lanthimos’ film compares. The Korean director Jang was originally slotted to direct this film before Lanthimos came on board.
At the end, one would be too mesmerized by this absurdist film to decide whether it was good or not, or whether one was entertained by it or not.
BULGONIA opens with a special limited engagement on October 24th, ahead of a wide expansion on October 31st.
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DRACULA (Romania/Austria/Luxembourg/Brazil 2025) ***
Directed by Radu Jude
Romanian director known for hosting excesses and vulgarity, known for his hits THE LUCKIEST GIRL IN THE WORLD and BAD LUCK BANGING OR LOONY PORN, comes up with his latest version and interpretation of the DRACULA myth. This is a very Romanian look at the myth, linked to folklore and absurdity.
Dracula is a 2025 satirical comedy-drama film written and directed by Radu Jude. The film title is inspired by Bram Stoker's Gothic horror novel, Dracula. Set in contemporary Transylvania, it explores the legend of Dracula through Romanian lenses.
Radu Jude’s DRACULA is not the typical DRACULA film. The use of AI as both theme and tool is timely, provocative, and innovative, though the non-linearity of the film (in every aspect) can be quite overwhelming to the average viewer.
The main narrative thread involves a creatively blocked director who turns to a (fake) AI chatbot to help him craft his next film, which is about Dracula. What follows is a sequence of 14-15 vignettes of varying tone and absurdity — some vampire horror, some absurd comedy, some commentary — all referencing Dracula myth, film, folklore, kitsch, and AI.
The setting includes Transylvanian landscapes and medieval locations (e.g., Sighişoara, Bethlen Castle, Bucharest’s Griviţa Roşie district) and uses them for both real footage and AI-generated image montages.
One vignette has a truck driver in the country giving a ride to a young lass. A couple of times! When he confesses that he has been married for two years, she jumps out of the truck. AI-generated images show her landing in front of the truck,k which stops abruptly. The driver discovers a stake through her out, pushes her back in the truck, and drives her around. Another has Uncle Sandu and Vampire, two restaurant performers escaping through the city streets while his dinner guests hunt them down.
It is a rocky roller-coaster ride, to say the least, and whether one comes off it entertained is questionable. A lot of nudity, crude language, images of penises and bare breasts - what is morally present and can be expected in a Radu Jude’s film.
If Radu Jude’s DRACULA is your cup of tea, then Radu Jude’s next film, FRANKENSTEIN IN ROMANIA, should be worth a look.
The film had its world premiere in the main competition of the 78th Locarno Film Festival on 10 August 2025, where it was nominated for Golden Leopard. The film has a one-day-only special screening this coming Wednesday, 29th October at the TIFF Lightbox.
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THE ELIXIR (Indonesia 2025) **
Directed by Kimo Stamboel
THE ELIXER is an Indonesian zombie movie, set in Indonesia, a country famous for its folklore horror movies. THE ELIXER is set in the countryside outside Jakarta.
For centuries, the elixir primarily meant an ingredient used in alchemy, either referring to a liquid which purportedly converts lead to gold, or a substance or liquid which is believed to cure all ills and give eternal life. That which would indefinitely prolong life (more fully elixir vitae, "elixir of life") was considered to be closely related to, or even identical with, the substance for transmuting metals.
The film begins with a runaway car crashing into a circumcision ceremony, injuring many of the guests, before the driver is discovered to be a blood sucking zombie attacking the guest who opened the crashed car door to confront the driver. The film moves back in time to explain the series of events leading to this crash, the story of the film, which goes on after a third of the film’s 2-hour running time.
For a movie running at 2 hours, it is surprising that this fast-moving film is quite boring. Despite huge, energetic action set pieces and elaborate family interactions, no one really cares what happens. It is also strange that the family seems to be the only ones that survive the zombies the longest, whereas everyone else perishes in an instant.
The story kicks off when the patriarch of a herbal‐medicine company tries to innovate a new “youth elixir” (a potion promising eternal youth) and inadvertently triggers a zombie outbreak. Sadimin: The father of the family and also the company head drinks the experimental elixir and transforms into a zombie monster. Once he bites a victim, the victim becomes a zombie, and a chain reaction occurs, leading to a whole load of villagers turning into flesh-eating zombies in mere minutes. The desire to remain young while turning into a monster at the start of the film is reminiscent of he excellent film THE SUBSTANCE, but the similarity ends there. THE ELIXIR turns into the run-of-the-mill zombie movie with all the usual cliches. In this zombie movie, rain seems to stop the creatures from attacking their victims.
The story adds some family conflicts into the equation., The father’s wife is his daughter’s best friend in school, and the daughter, Karin, despises Kenes as a result. But, as cliches go, their differences have to be put aside to survive the zombie apocalypse. Karina has a son, who does not seem to be able to walk or run on his ow,n even though he is a big boy, and is carried by his father or mother whenever zombies attack.
The only positive point about the move is the zombie flick set in an Indonesian non-Western setting. Despite the poor acting and silly storyline, the individual action set pieces are effectively staged. The film also shows that eternal youth and sexual performance are very much desired in any setting.
THE ELIXIR is a Netflix original horror film and opens for streaming this Thursday on Netflix.
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LAST STOP: ROCAFORT STATION (Estación Rocafort)(Spain 2024) ***½
Directed by Luis Prieto
In LAST STOP: ROCAFORT ST., the darkest legend of Barcelona emerges like the wind from the metro entrance and chases you through the city, the scenario of a horror story that no one will want to believe when they hear it.
The horror film begins with a family held hostage by the Yellow Line serial killer in the underground tunnel. The station is Rocafort Station in Barcelona. A cop, Roman, wrestles the killer to the ground after the killer has shot the father and mother. The gun goes off, and the daughter is shot, while the killer is arrested and presently in prison, Roman is now off the force and heavily drinks to forget the past. The film moves forward to Laura, a Metro employee assigned to Rocafort Station. There, she witnesses a suicide. Right after that, she witnesses hallucinations and cannot tell reality from her nightmares. She wants to be re-assigned to another station, but her supervisor refuses. Apparently, no one wants to work at this reputed haunted station.
A haunted station is almost the perfect setting for a horror movie. One wonders the reason it has not been done before. The labyrinth of tunnels is spooky and eerie. There are plenty of opportunities for jump scares, which director Prieto uses a few times.
In case one is wondering about Rocafort station, there is such a station in Barcelona. It was opened in 1926 and has had a reputation of being haunted ever since.
During the work week in Barcelona, 1.3 million passengers a day travel along the 76 miles of the metro, on which 161 trains run at rush hour along the 8 lines that comprise it. Throughout the metro network, there are 161 stations open to the public. Of all those people, some never see the light of day again, and the rest don’t want to know….
The station is an urban legend The perception of Rocafort Station as a cursed place has deeply rooted itself in Barcelona. Workers from Transports Metropolitans de Barcelona (TMB) avoid being assigned to this station due to legends that speak of mysterious voices in the tunnels around midnight. The station, with its flickering lights and dimly lit corridors, has been the perfect setting for local horror stories like the one in this film.. According to these legends, Rocafort has a malevolent influence that lures the desperate to their end. This reputation has generated numerous urban tales, consolidating the station’s image as a place surrounded by mystery and fear.
Newly assigned to work at Rocafort St., one of Barcelona’s quietest subway stops, Laura quickly realizes something is deeply wrong beneath the tracks. Whispers of an urban legend swirl sinisterly around the station, and she soon finds herself haunted by a string of unexplained deaths all pointing to Rocafort. When she enlists a disgraced ex-cop to help uncover the truth, the mystery turns deadly. Whatever evil lurks inside the labyrinth of tunnels preys unrelentingly on fear – and now, it’s coming for her.
Director Prieto makes full use of the mystery, menace, and history of the reputed haunted Rocafort Station to enhance a story of ghosts and murder. One complaint audiences might have is that the film ends after all the mystery is explained, but not with a happy ending.
LAST STOP: ROCAFORT STATION (Estación Rocafort) premieres on VOD and Digital Platforms on October 24th.
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QUEENS OF THE DEAD (2025) ***
Directed by Tina Romero
The film’s beginning follows a drag queen as she enters a church to pray, offer tithes, and see a customer, before she is bitten by a zombie. She is totally camp, playing it out as one total bitch, but one who is fun to observe and laugh at and with.
This is when a zombie apocalypse breaks out in Brooklyn. Brooklyn, where the drag queens rule. The film does not explain how these zombies came to be, nor does it matter anyhow, as any reason would have sufficed anyway.
Meanwhile, in the world of drag queens, it is the night of a giant warehouse party, where an eclectic group of drag queens, club kids, and frenemies must put aside their drama and use their unique skills to fight against the brain-thirsty, scrolling undead. When the first killing occurs in the club, the queens try to call 9-1-1, but an Amber Alert is on.
Is the film terrifying? It is, if you dread watching drag queen stuttering around like peacocks with their limp wrists and effeminate ways. But they are as camp as they are entertaining, if one likes this sort of thing. QUEENS OF THE DEAD is a horror film not to be taken lightly, but with humour and lots of camp.
The drag queens need to escape the zombies. How? The answer lies in the 28 DAYS LATER zombie movies with the same solution: there is a boat to be caught to take these assorted queens to a safe place, and they must get to the boat, as instructed by the Margaret Cho character playing a lesbian bitch fighter.
If the name Tina Romero sounds familiar because of the director’s last name, it's because Tina is the daughter of George Romero, the horror director who basically invented the zombie, not to say zombie movies. In real life, Tina Romero is a filmmaker, writer, and DJ living in New York City. After earning her BA in Cinema Studies at Wellesley College, she attended the NYU Tisch Graduate Film program, where she won the Warner Bros. Film Award for her accomplishments in filmmaking. Tina’s greatest influence, in film and in life, is her father, George A. Romero.
QUEENS OF THE DEAD premieres on Shudder on October 24th, the week of Halloween and serves as an alternative to the normal horror flick.
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REGRETTING YOU (USA 2025) **
Directed by Josh Boone
Regretting You is a 2025 romantic drama film directed by Josh Boone (romcom expert who directed romance films like THE FAULT IN OUR STARS and STUCK IN LOVE) from a screenplay by Susan McMartin. It is based on the 2019 novel of the same name by Colleen Hoover.
The following paragraph is a summary of the story, and it contains spoilers. The paragraph is in italics, so skip it if you do not wish to learn of the plot.
At the core of Regretting You is Morgan Grant, who becomes pregnant as a teenager, putting aside her own dreams to raise her daughter, Clara. Now, at 34, she’s lived a life molded by responsibility and sacrifice, constantly striving to protect Clara from making similar mistakes. Her husband, Chris, serves as the family’s calming influence, but when Chris dies in a sudden car accident, everything unravels. Chris wasn’t alone in the car—he was with Jenny, Morgan’s sister, and that’s where the real emotional quake starts. Not only is Jenny dead, but it comes to light that she and Chris were having an affair—a revelation that shakes Morgan to her core. Morgan, grappling with both grief and betrayal, is forced to keep this devastating secret from Clara, adding more strain to an already difficult mother-daughter relationship. Meanwhile, Clara, dealing with the loss of her father and believing her mother is keeping secrets, finds solace in her own budding romance with a boy named Miller Adams, much to Morgan’s disapproval. The novel shifts between Morgan’s and Clara’s points of view, each grappling with their own versions of pain and growth. Clara’s struggles are those of a teenager—angst, first love, rebellion—while Morgan’s are those of a woman whose world has been turned upside down by betrayal and loss. Their paths, though entwined, diverge as they both seek ways to heal, only to find more secrets buried beneath the surface.
Despite attempts at twists and turns in the story, it still comes across as manipulative, especially towards the privileged white female. Why does everything good and all dreams come true for this spoiled teen? Also, what happened to baby Eli during the last half hour when all hell broke loose?
The treatment of the male gender is fully at the whim and fancies of their counterpart, the female, in this strongly female-slanted story. The story is told from two female points of view, from mother Morgan and her daughter Clara, nicknamed Clara Bear. Though Chris is supposed to have influence on the family, Scott Eastwood has little screen time, except to show off his muscular build, obviously for female pleasure. Cutie pie Dave Franco, playing Uncle Jonah, also plays for the female eye, as does the young actor Mason Thames (HOW TO TRAIN YOUR DRAGON), portraying Miller Adams, Clara’s romance.
REGRETTING YOU is a female slanted romantic drama dealing with grief, regret, and love, the kind of stuck general audiences love to loop up. The film, which opens in theatres this weekend, should do well at the box office.
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SHELBY OAKS (USA 2024) **
Directed by Chris Stuckmann
It was twelve years back when a YouTube paranormal investigation team called the Paranormal Paranoids disappeared while filming in the abandoned ghost-town of Shelby Oaks, Ohio. Their leader, Riley Brennan (Sarah Durn), is missing, and the case remains unsolved.
Riley’s sister Mia (Camille Sullivan), the main subject, has still not given up hope of finding her sister and solving the mystery.. She becomes involved in a documentary/investigation of her own to find out what happened to Riley.
As Mia digs deeper, she uncovers disturbing footage, a dark legacy, and realizes that the “imaginary demon” or supernatural entity she and Riley believed in as kids may have been real.
The film blends documentary/found-footage style segments (early on, as in THE BLAIR WITCH PROJECT) with more traditional narrative horror sequences. The supernatural threat becomes more overt as the story progresses towards the second third.
In the Q&A following the film’s promo screenings, director/writer Stuckmann makes the bold comment that he believes every new director would come from the YouTube / TikTok generation. This is a very sweeping statement based on his own, likely limited experience. During the Q&A, Stuckmann can hardly speak proper sentences without the excess use of the word ‘like’, giving off the impression that he cannot write in good English prose and perhaps not too intelligently. His film reflects the flaw of lacking a strong narrative, though Stuckmann does well with individual segments.
The best thing about Stuckmann’s film is his creation of the hut in the woods, similar to Hansel and Greta’s witch’s shack in the Brothers Grimm Fairy Tale. Mia soon discovers that the old woman in the hut has imprisoned Riley, who is now not the same Riley that Mia knew. This is perfectly creepy and scary,y Grimm’s fairy tale territory. Director Stuckmann also evokes some funny comedy during this segment.
SHELBY OAKS is an occasionally impressive first feature with some genuine scares, but it suffers from inconsistency (should supernatural forces exist or not?) and the lack of a strong narrative. SHELBY OAKS opens in Theatres this week.
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SPRINGSTEEN: DELIVER ME FROM NOWHERE (USA 2025) ***
Directed by Scott Cooper
SPRINGSTEEN: DELIVER ME FROM NOWHERE is a 2025 American biographical musical drama film starring Jeremy Allen White as Bruce Springsteen. Written and directed by Scott Cooper, and based on the 2023 book Deliver Me from Nowhere by Warren Zanes, it chronicles Springsteen's personal and professional struggles during the conception of his 1982 album Nebraska.
The film’s main subject is Springsteen and his 1982 album Nebraska, as well as what he, his manager, and band went through to get it made. Springsteen lost his romance and went into depression while fighting for what he wanted for the album, which took a major toll on his emotional balance. There is no talk on drugs or alcohol, so one must give The Boss credit for that. He insisted on no singles, no press, and no tour for the album. The album had difficulty being made by the record label, but his manager fought for him. It did become Number 3 on the charts in the United States when released.
Retrospectively, critics regard Nebraska as a timeless record and one of Springsteen's finest works. The album has appeared on numerous lists of the greatest albums of all time. It is recognized as one of the first do-it-yourself (DIY) home recordings by a major artist and has had a significant influence on the indie rock and underground music scenes.
On its original release, the critical reception to Nebraska was mostly positive. It was hailed by critics for its boldness and individuality, being called an unexpected, brave, and artistically daring record. Its stylistic departure from Springsteen's previous works came as a shock to some critics
The best performance in the film belongs to English actor Stephen Graham, who recently won an Emmy for the Netflix series ADOLESCENCE and will be seen in the upcoming GOOD BOY, where he plays a geeky, troubled kidnapper. Graham ditches his English accent and plays the complex and troubled American father perfectly. Jeremy Allen White, who looks like Dustin Hoffman in several segments due to the camera angles, also deserves praise for playing Springsteen.
One thing to note is that this is not the typical biopic like the recent ones on Elvis Presley and Elton John. This is a dramatic portrayal of Bruce Springsteen as an artist fighting his personal demons, which include his depression, outbursts, and failed romances. There is little seen of the Boss performing on stage, though there is emphasis on the songs he had written, in which one can appreciate his hard-to-recognize talent.
SPRINGSTEEN: DELIVER ME FROM NOWHERE is not the kind of film his fans would expect, but it is not that bad a movie anyway. It has a hefty $55 million budget and this film, though not bad has a possibility of being a dud judging form recent duds like Dwayne Johnson’s arguablybest dramatic movie, the recent THE SMASHING MACHONE that no one went to see as well as Jennifer Lopez’s musical KISS OF THE SPIDER WOMAN with great performances and choreography that made less that $1 million domestically in the U.S. opening weekend.
SPRINGSTEEN: DELIVER ME FROM NOWHERE opens everywhere in theatres this week, October 20th.
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