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    movie review

    The Hunt mows down the left and the right in raucous satire

    Craig Lindsey
    Mar 13, 2020 | 9:30 am

    After review, The Hunt harks to the Alexander Payne film, Citizen Ruth.

    That 1996 dramedy had recent Oscar winner Laura Dern as a spray paint-huffing vagrant who becomes a cause celebre when she gets pregnant (again) and gets caught in the middle of an abortion-issue war between pro-choicers and pro-lifers, each with their own selfish agenda. She's trapped between the left and the right, and she has no choice but to fend for herself.

    Something similar happens in The Hunt (except without the abortion talk) with lots of guns.

    Much like Payne did with his debut film nearly 25 years ago, this black comedy (which was supposed to be released last fall, but was shelved due to our president saying the movie would "inflame and cause chaos") is out to take the vitriol — and a lot of blood — out of both sides of the aisle, in the broadest, most bullet-riddled way possible.

    The heroine this time around is Betty Gilpin (of the Netflix show GLOW), an Afghan war veteran who is one of the many people who gets drugged and whisked away to an unfamiliar place and ultimately, hunted for sport. It turns out they are the prey for a group of rich liberals (led by Hilary Swank, all elitist and bloodthirsty) who are heavily armed and ready to mow down some right-wing deplorables.

    Emma Roberts, Justin Hartley, and Ike Barinholtz are some of the conservative-minded captives who are also running for their lives. (Viewers might not be concerned about their well-being for much of the movie.)

    This whole thing is about Gilpin's badass soldier, who easily slips into kill-or-be-killed mode and properly begins taking out these upper-crust NPR listeners one-by-one. Gilpin, an amusing, eccentric actress, appears to take wicked glee in playing her heroine as both quick-witted and quietly unhinged, virtually unfazed by all the insanity that's going on all around her because she's been down this road before.

    Perhaps the umpteenth retelling of the short story The Most Dangerous Game (our favorite adaption: the '90s flick Surviving the Game, where Ice-T gets hunted by Rutger Hauer and Gary Busey?), Hunt comes to us courtesy of producer and TV impresario Damon Lindelof, who wrote the script with Nick Cuse (son of frequent collaborator Carlton Cuse).

    Along with director Craig Zobel, who has directed episodes of The Leftovers and Westworld and already tackled the subject of gullible yokels in the films Great World of Sound and Compliance, all use this film to gut — figuratively and literally — both the red and blue state folk, who are both portrayed here as self-centered, ill-informed, and utterly sanctimonious.

    Call it an examination of social media, which is literally a daily, never-ending cacophony of loudmouthed people on both sides, constantly drowning each other out to show they're better than the other.

    Indeed, no matter how silly and savage The Hunt gets, it's still nowhere as insane as the news we get on an hourly basis.

    Athena (Hilary Swank) and Crystal (Betty Gilpin) in The Hunt.

    The Hunt movie review Athena (Hilary Swank) and Crystal (Betty Gilpin) in The Hunt
    Photo Credit: Patti Perret/Universal Pictures
    Athena (Hilary Swank) and Crystal (Betty Gilpin) in The Hunt.
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    Movie Review

    Reminders of Him taps into grief, grace, and the power of moving on

    Alex Bentley
    Mar 13, 2026 | 10:30 am
    Maika Monroe and Tyriq Withers in Reminders of HIm
    Photo by Michelle Faye / Universal Pictures
    Maika Monroe and Tyriq Withers in Reminders of HIm.

    Texas author Colleen Hoover has gone from being a popular writer to a full-on celebrity in the 2020s. The new film Reminders of Him marks the third adaptation of her books in just 19 months (a fourth, Verity, is scheduled for release in October 2026). All of her books that have been adapted so far — most notably It Ends With Us — are female-led stories that feature elements of romance and trauma, catnip for studios looking to appeal to the underserved demographic of women.

    Leading the way in this film is Kenna Rowan (Maika Monroe), who returns to her hometown of Laramie, Wyoming after spending years in prison for killing her boyfriend, Scotty (Rudy Pankow), in a car accident. That relationship resulted in a daughter, Diem (Zoe Kosovic), whom Kenna gave birth to while imprisoned and is now being raised by her grandparents, Patrick (Bradley Whitford) and Grace (Lauren Graham).

    Yearning to be a part of Diem’s life, Kenna tries to reconnect with Patrick and Grace, only to be rebuffed by Scotty’s best friend, Ledger (Tyriq Withers), a former NFL player who now owns a local bar. In running interference, Ledger starts to become closer to Kenna, discovering that her tragic mistake shouldn’t be the only thing that defines her.

    Directed by Vanessa Caswill and written by Lauren Levine, the film features mostly surface level examinations of its themes and average performances, yet it winds up being effective thanks to a willingness not to rush through its storytelling beats. The filmmakers take the slow and steady approach toward the coupling of Kenna and Ledger, setting up their bond through a series of heart-to-heart conversations that makes any romance feel earned.

    The majority of the focus is on Kenna reclaiming her place in the world, and on Ledger coming to terms with the fact that the person who killed his best friend is not inherently a bad person. The film definitely could have gone deeper in its explorations of grief and anger, but the sheer amount of time it takes in addressing the characters’ doubts and fears turns out to be sufficient for a film that’s not aiming to be considered a dramatic masterpiece.

    It also helps that Caswill and Levine do a solid job of establishing the variety of characters that inhabit the film. Kenna and Ledger don’t always feel like fully-formed people, but they become so through their interactions with each other and the other townspeople. Lady Diana (Monika Myers), a girl with Down syndrome who lives in Kenna’s apartment complex, and Roman (Nicholas Duvernay), Ledger’s co-worker at his bar, help to broaden the appeal of the two leads.

    Monroe has, to this point, been best known for starring roles in horror films like It Follows and Longlegs. While she does somewhat well in this role, her delivery is often more flat than you’d expect for a character going through what she does. Withers thankfully doesn’t remind viewers of his recent bomb Him, demonstrating a crossover appeal that should serve him well in the future. Whitford and Graham don’t get to do much, but their combined experience gives their roles exactly what is needed.

    It may sound like damning with faint praise, but Reminders of Him is a competently made film that knows how to serve its core audience without insulting anyone who may not automatically be all-in for such a story. The filmmakers don’t try to force any of the key moments down the audience’s throat, and that stands out in a genre that’s not always known for its subtlety.

    ---

    Reminders of Him opens in theaters on March 13.

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