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'Cyrano' infuses an oft-told tale with disarming sincerity and operatic passion

Justin Chang

Haley Bennett stars as Roxanne in Joe Wright's Cyrano . Peter Mountain/Metro-Goldwyn-Mayer Pictures Inc. hide caption

Haley Bennett stars as Roxanne in Joe Wright's Cyrano .

A lot of great actors have played Cyrano de Bergerac over the years, including José Ferrer, Christopher Plummer , Gérard Depardieu , Kevin Kline and Steve Martin , if you count — and why not? — the 1987 modern-day comedy Roxanne .

The latest to join their distinguished company is Peter Dinklage, and he's the rare actor not to wear a fake nose for the role. Here, it's not a big schnoz but rather Cyrano's diminutive stature that makes him think he's unworthy of Roxanne, the woman he loves, played by Haley Bennett.

That's not the only major departure from Edmond Rostand's tragicomic 1897 play. This solid and sometimes enchanting movie, simply titled Cyrano , was adapted by Erica Schmidt from her 2019 stage musical, with a score and songs by members of the band The National . Their sweet, somber melodies bring a decidedly modern edge to the story, which takes place sometime between the 17th and 18th centuries. While Cyrano de Bergerac usually unfolds in Paris, the movie, shot mostly in Sicily, doesn't specify an exact location.

Apart from those changes, it's the same story. Cyrano, a respected soldier in the king's army, is renowned and feared for his superb swordsmanship and his scathing wit, both of which have made him powerful enemies like Count de Guiche, played by a scowling Ben Mendelsohn .

How the many pairs behind 'Cyrano' made music for the movie's lovelorn couples

Cyrano is also deeply in love with Roxanne, a longtime friend who admires his confrontational spirit and his way with words. But Roxanne has fallen for Christian, a dashing young soldier — played by a very good Kelvin Harrison Jr. — who's just joined Cyrano's regiment. Cyrano takes on the role of a go-between and even goes so far as to write impossibly eloquent love letters to Roxanne, passing them off as Christian's.

At the climax of this farcical romantic triangle, Roxanne stands at her bedroom window while the hopelessly inarticulate Christian tries to woo her, with some much-needed prodding from Cyrano, lurking in the shadows. At a certain point, Cyrano takes over, and he gives full voice to his passionate feelings in a lovely duet between him and a still-unsuspecting Roxanne.

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Fun fact: Dinklage and screenwriter Schmidt are a couple, as are Bennett and the film's director, Joe Wright. Think of it as a romantic behind-the-scenes footnote to a movie that's unabashedly romantic in spirit. Wright's filmmaking has a pleasing old-fashioned sumptuousness, courtesy of production designer Sarah Greenwood and costume designers Massimo Cantini Parrini and Jacqueline Durran, who are Oscar-nominated for their dazzling work here.

As he did in past films like Pride & Prejudice and Anna Karenina , Wright controls the camera with fluid grace, letting us see the actors and dancers moving through space with none of the busy cutting you get in so many contemporary movie musicals. Bennett is a trained singer, and she delivers the movie's strongest musical performance; her Roxanne really comes to emotional life when she's called on to sing.

Dinklage has musical experience, too — he was the frontman of a '90s punk band called Whizzy — and he expresses Cyrano's every longing with a deep, soulful baritone. He's an inspired choice for the role: Like Tyrion Lannister, whom Dinklage played to perfection on Game of Thrones , Cyrano is always the smartest person in the room, easy to underestimate but hard to defeat in a battle of wits or weapons.

But Dinklage shows you the deep ache at Cyrano's core, and makes you feel the sting of his unrequited love. Some purists may miss that big nose, but there's something about the lack of prosthetic enhancements that makes Dinklage's performance all the more poignant: What you see onscreen is all him, nothing more and nothing less.

That disarming sincerity applies to the movie as a whole. It's not always the most graceful retelling of this oft-told tale, but it's hard not to admire Wright's conviction and sometimes his crazy audacity. Only a truly committed director would have opted to shoot a climactic battle scene at 16,000 feet above sea level on the side of Mount Etna , a live volcano. It's a showy flourish, for sure — but also a fitting one for a story of such grand, operatic passion.

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Peter Dinklage, Haley Bennett, and Kelvin Harrison Jr. in Cyrano (2021)

Too self-conscious to woo Roxanne himself, wordsmith Cyrano de Bergerac helps young Christian nab her heart through love letters. Too self-conscious to woo Roxanne himself, wordsmith Cyrano de Bergerac helps young Christian nab her heart through love letters. Too self-conscious to woo Roxanne himself, wordsmith Cyrano de Bergerac helps young Christian nab her heart through love letters.

Erica Schmidt
Edmond Rostand
Peter Dinklage
Haley Bennett
Kelvin Harrison Jr.
244 User reviews
186 Critic reviews
66 Metascore
9 wins & 47 nominations total

Sister Claire

Mother Marthe

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Production, box office & more at IMDbPro

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Did you know

Trivia Haley Bennett and Peter Dinklage reprise their roles from the 2018 Connecticut-based Goodspeed Musicals production of Cyrano, which also had a limited run off-Broadway in New York in late 2019.
Goofs Ragueneau the baker says "Jupiter and Pluto are planets". Pluto was discovered and named in 1930, but the film is set in the 1600s.

Roxanne : It's you, my love.

Cyrano : You love the words.

Roxanne : No, you. I love Cyrano. Cyrano is my love! I've always loved Cyrano...

Cyrano : And I loved... My pride.

Crazy credits The first two minutes or so of the ending credits appear atop close-up images of Cyrano/Christian and Roxanne's letters being written as if by an unseen hand leaving wet ink and tears, ending with "I love you now."
Connections Featured in MsMojo: Top 10 Best Musical Movies of 2021 (2021)
Soundtracks Marche Pour Les Trompettes H.547/1 Written by Marc-Antoine Charpentier Performed by Hervé Niquet & Le Concert Spirituel Courtesy of Glessa / Nete 1 Music GmbH

User reviews 244

Dec 30, 2021
How long is Cyrano? Powered by Alexa
February 25, 2022 (United States)
United Kingdom
United States
Official Site (Japan)
Official Site (United States)
Castello Maniace, Syracuse, Sicily, Italy (Cadets barracks)
Metro-Goldwyn-Mayer (MGM)
Working Title Films
BRON Studios
See more company credits at IMDbPro
$30,000,000 (estimated)
Feb 27, 2022

Technical specs

Runtime 2 hours 3 minutes
Dolby Digital
Dolby Surround 7.1

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‘Cyrano’ Review: Who Wrote the Book of Love?

Peter Dinklage wields pen and sword in a musical adaptation of the durable French romance.

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By A.O. Scott

Cyrano de Bergerac is a lover and a fighter, but when we first meet him he is indulging in a brutal bit of theater criticism. Played with grace and gusto by Peter Dinklage, Cyrano emerges from a standing-room-only crowd to berate a pompous actor and drive him from the stage. With cutting rhymes and a sharp sword, he defends dramatic truth against the woeful thespian’s powdered preening. The audience, which had paid to see Cyrano’s victim, nonetheless mostly applauds his humiliation. The few who object are marked as fools, phonies or outright villains.

Artifice mobilized in defense of authenticity. It’s a paradox as old as art, and one that “Cyrano,” a new screen musical based on Edmond Rostand’s French-class chestnut, embraces with a risky ardor. Directed by Joe Wright, with songs by members of the National (Bryce and Aaron Dessner wrote the music, with lyrics by Matt Berninger and Carin Besser) and a script by Erica Schmidt, this version wears its heart on its ruffled sleeve, pursuing its lush, breathless vision of romance with more sincerity than coherence.

The original Cyrano, first performed in 1897, was an artful throwback to the poetic dramas of the 17th century, written in Alexandrine couplets and infused with lofty, archaic notions of love and honor. In the decades since, the story has become familiar through countless variations and adaptations. Cyrano, a soldier ashamed of his large, misshapen nose, is in love with Roxanne, who is smitten with a callow cutie named Christian. Cyrano uses his literary talents to woo Roxanne in Christian’s name. Each man becomes the other’s proxy. “I will make you eloquent, and you will make me handsome,” Cyrano says.

The resulting confusion produces both comedy — a tangle of crossed signals and mistaken identities — and tragedy. Some versions soften or eliminate the tragedy, like Fred Schepisi’s sweet “Roxanne” (1987), starring Steve Martin and Daryl Hannah, and the recent Netflix teen charmer “The Half of It.” Wright and Schmidt’s “Cyrano,” which originated onstage in 2019 , charges in the other direction, telegraphing its heartache in lyrics and building toward an operatic, death-haunted end.

Along the way, it supplies some moments of fun, mostly thanks to Dinklage and Ben Mendelsohn as his conniving, predatory nemesis, the Duke De Guiche. He too is smitten with Roxanne (Haley Bennett), and as a high-ranking military officer holds the fates of Cyrano and Christian (Kelvin Harrison Jr.) in his hands. Mendelsohn excels at playing silky, sadistic bad guys like this, and he offers himself as a perfect foil to Dinklage, whose Cyrano is acerbic, cantankerous and openhearted.

His small stature rather than his large nose makes this Cyrano think himself unworthy of Roxanne, who sees him as a close friend and confidant. She and Christian have an immediate physical spark, efficiently conveyed through smoldering glances. Bennett and Harrison do their part to infuse a technically chaste courtship with an element of horniness. Her cheeks are in a state of permanent semi-blush, and he conveys stammering, tongue-tied desire.

They almost upstage Cyrano’s words, which are meant to supply the conduit for a truer form of love. Rostand’s play is built on an emotional rendering of the mind-body problem. Together, Cyrano and Christian add up to a perfect man — word and image, spirit and flesh, agape and eros — but only insofar as they succeed in deceiving Roxanne. Even though there is only one of her, she is also divided between the cerebral and the sensual dimensions of love.

At one point, Wright tries to bridge this gap by staging part of a musical number in Roxanne’s bedroom, where she reads Christian’s — that is, Cyrano’s — letters in a state of soft-focus ecstasy, pressing the pages against her lips and bosom as she tumbles across the duvet. The earnest preposterousness of this sequence, which might have worked on MTV sometime in the early ’90s, is representative of the movie’s silliness and its longing for sublimity.

A musical should be capable of embracing both. But Wright, while a canny craftsman, is too committed to good taste to go over the top into either melodrama or camp. The music strikes a pretty good balance between rock ’n’ roll economy and show-tune extravagance, though the soundtrack is like an album of second-best songs. Only a plaintive anthem sung by soldiers on the eve of battle stands out, partly because its sentimentality has little to do with the central love triangle.

Somehow, that geometry never quite aligns, despite the gameness of the cast. Bennett and Harrison are both reasonably strong singers, and Dinklage’s voice has a gravelly credibility. He sounds a little like Stephin Merritt of the Magnetic Fields, or a less jaded Leonard Cohen.

He is both the best thing in “Cyrano” and, for that reason, its undoing. From the moment Cyrano enters the action, his charisma and intelligence are on splendid display, and Dinklage — jaunty, melancholy, sly — takes possession of the movie. But that means that the argument on which the drama depends is over before it has even begun.

Cyrano Rated PG-13. Swooning and swordplay. Running time: 2 hours 4 minutes. In theaters.

A.O. Scott is a co-chief film critic. He joined The Times in 2000 and has written for the Book Review and The New York Times Magazine. He is also the author of “Better Living Through Criticism.” More about A.O. Scott

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‘Cyrano’ Review: A Dashing Peter Dinklage Offers a Fresh Spin on a Romantic Classic

Screenwriter Erica Schmidt knows Cyrano’s nose ought not be his defining feature, reinventing Edmond Rostand's play to suit her husband's "unique physique" and exceptional talent.

By Peter Debruge

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English audiences have long been partial to Romeo and Juliet, but in this critic’s outside-the-box opinion, Edmond Rostand’s “ Cyrano de Bergerac” is the more romantic play. For starters, its tragedy hinges not on teenage impatience and suicide but deep, long-unrequited affection. Convinced that his physical appearance makes him unworthy of his beloved Roxanne, the chivalrous Cyrano dares not express his ardor directly, ultimately taking his secret to the grave. And yet, Shakespeare’s tale of star-crossed lovers is told and retold infinitely more often than Rostand’s.

On those occasions when “Cyrano de Bergerac” is performed in English, it’s often stripped of its verse or played for laughter and farce (à la 1987’s “Roxanne”), whereas Joe Wright ’s splendid new adaptation presents “Cyrano” as 21st-century MGM musical. By enlisting Bryce and Aaron Dessner of the National to compose the songs — lovely, wistful pop ballads for which Matt Berninger and Carin Besser supplied the lyrics — “Cyrano” restores the show’s sense of poetry. At the same time, Wright, back on form and evidently reinvigorated by the pandemic, once again displays the kind of radical creativity that made early-career stunners “Pride and Prejudice” and “Atonement” so electrifying in their time.

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So, with all due respect to the Bard, we might well ask: What’s in a nose? Cyrano, defined by any other feature, might smell as well. Here, Dinklage’s diminutive stature serves the same purpose the character’s oversize schnoz originally did, lending Cyrano an outsider quality that he must overcompensate for in personality (this was much as Gérard Depardieu played it in Jean-Paul Rappeneau’s definitive screen version). Our hero has been called “freak” so often that the insult has lost its sting, and Cyrano’s swordsmanship and wit are such that any rejoinder is sure to prove more cutting — as the movie demonstrates in its dynamic retelling of the opening theater scene, wherein Cyrano makes his flamboyant entrance. He interrupts the actor mid-monologue, then proceeds to upstage him with a rap battle-cum-duel, showcasing talents Dinklage seldom gets to display on-screen.

As Cyrano’s trusted friend Le Bret (Bashir Salahuddin) is quick to recognize, this foolish show has all been for the benefit of one person: Roxanne ( Haley Bennett ), who attends with the powerful yet off-putting Duke de Guiche (Ben Mendelsohn), restyled here as the kind of rival we might expect to find in a Disney fairy tale. There’s good reason for this change, which allows Schmidt to better define Roxanne’s character from the outset: “I’m nobody’s pet, no one’s wife, no one’s woman,” she asserts early on. Granted the film’s first song, “Someone to Say,” Roxanne’s more than just the abstract object of Cyrano’s affection but an independent woman who knows what she wants — or at least, she thinks she does, when she falls for one of Cyrano’s new recruits, Christian (Kelvin Harrison Jr.).

But Cyrano knows Roxanne’s heart perhaps better than she does, and while his breaks when she tells him of her feelings for Christian, he nevertheless promises to protect the young recruit. Cyrano also realizes that without his help, the inarticulate soldier stands no chance of wooing Roxanne, and so he offers to ghostwrite the love letters she expects. The bargain, as Cyrano sees it: “I will make you eloquent, while you make me handsome.” And so begins the greatest courtship the stage has ever known, with Christian reprising the earlier “Someone to Say” number, this time from his perspective.

The plot of “Cyrano de Bergerac” is well-known enough to spare recounting what follows, except to point out that Wright — whom I consider one of the medium’s most visionary craftsmen — has outdone himself in devising original, cinematically innovative ways to stage the film. There’s always been something a bit baroque about Wright’s style: an ornate and somewhat ostentatious more-is-more approach in which costumes, sets and whatever elaborate choreography the camera might be doing all contribute to the overall pleasure we derive from watching it. In “Anna Karenina,” it all became too distracting. By the time of “Pan,” Wright had gone off the deep end. But now he’s recovered, and he wasn’t about to let COVID stand in his way.

Shifting the setting to the island of Sicily, where he could create a responsible bubble within which to execute his epic vision, Wright embellished the natural production design of the available locations (including Mount Etna for the front-line battle scenes). Cyrano and company may have been real-life characters, but even Rostand (famously meticulous about the historical specifics) took considerable license. Here they serve as archetypes as Wright updates the 17th-century aspects to suit his aesthetic, damning the gentry with ribbons, frills and powdered faces while giving Bennett a more iconic modern look as Roxanne.

The son of puppeteers, Wright instinctively understands how to use the proscenium yet never confining himself to conventional frames. At the end of Act 1, when Cyrano is cornered by a mob of thugs, he orchestrates the ensuing fight scene in a single shot, as Dinklage handily dispatches 10 adversaries. Later, when the character assumes his letter-writing duties, Wright ingeniously layers shots of Roxanne and her two suitors to convey the complexity of this love triangle. And most importantly, in the famous balcony scene — the moment when Rostand most clearly surpasses “Romeo and Juliet” — the movie cleverly devises a way for its smitten hero to address Roxanne directly. Brilliant though Schmidt’s script may be, Cyrano would be the first to admit, “Words can only get me so far.” Wright’s direction does the rest.

Reviewed at Telluride Film Festival, Sept. 3, 2021. MPAA Rating: PG-13. Running time: 123 MIN.

Production: (U.K.) A Metro Goldwyn Mayer Pictures presentation, in association with Bron Creative, of a Working Title production. Producers: Tim Bevan, Eric Fellner, Guy Heeley. Executive producers: Aaron L. Gilbert, Jason Cloth, Matt Berninger, Carin Besser, Aaron Dessner, Bryce Dessner, Erica Schmidt, Sarah-Jane Robinson, Sheeraz Shah, Lucas Webb. Co-producer: Cass Marks.
Crew: Director: Joe Wright. Screenplay: Erica Schmidt, based on the stage musical she adapted and directed from “Cyrano de Bergerac” by Edmond Rostand. Editor: Valerio Bonelli. Music: Aaron Dessner & Bryce Dessner; lyrics: Matt Berninger & Carin Besser.
With: Peter Dinklage, Haley Bennett, Kelvin Harrison Jr., Ben Mendelsohn, Bashir Salahuddin, Monica Dolan.

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Peter Dinklage stands proudly, a letter in hand, in the street in Joe Wright’s Cyrano

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The epic romance of Cyrano makes way for Peter Dinklage’s greatest performance

Joe Wright’s lush, swooning musical is one of the best of its kind

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The opening number in Joe Wright’s movie musical Cyrano comes on soft and slow. “Something to Say” is a wistful, yearning ode to love, anchored by Roxanne (Haley Bennett), the love interest of Edmond Rostand’s 1897 play Cyrano de Bergerac . The low-key sequence, where Roxanne sings from her carriage window, “I need someone to die for / Write poems and cry for,” doesn’t hint at the wonderful loudness of the rest of the musical. But Wright’s vision, even in these opening minutes, immediately puts this adaptation in conversation with the cinematic continuum of other Cyrano adaptations, while setting the film apart from every recently released movie musical .

Wright’s take, based on Erica Schmidt’s musical adaptation of Rostand’s play , finds inspiration in the 1950 Cyrano de Bergerac starring José Ferrer and the 1990 Cyrano de Bergerac starring Gérard Depardieu. But he reinvents both by infusing an aching angst reminiscent of Shakespeare in Love . Unlike previous iterations of the character, this Cyrano doesn’t feel romantically hindered by an outsized nose — his conviction that he isn’t suitable for romance comes from his height. His unparalleled talent with words, along with his unquestionable bravery, raises him above his station, but never so much that Roxanne returns his affections.

This Roxanne craves true love, and rejects marrying the grotesque Duke De Guiche (Ben Mendelsohn, deliciously villainous) for his money. The dashing visage of a new army recruit, Christian de Neuvillette (Kelvin Harrison Jr.), has enraptured her. Her desperately devoted childhood best friend, Cyrano (Peter Dinklage), languishes unrequited in the background, feeding heartfelt verses to Christian so he can woo Roxanne. The combustible throuple instigates the movie’s dramatic action. The moody ballads by The National’s Aaron Dessner and Bryce Dessner give the lush, melancholic love story an elegant verve.

Wright’s Cyrano , repeatedly delayed from its original 2021 release date and now nearly abandoned by release company United Artists, is visually attuned and balletically sumptuous — a musical geared toward teenagers, the kind of project that’s been missing from multiplexes for a long time now. Wright’s epic romance is a reminder of how much musicals are geared for grand designs and even grander emotions.

The director takes great pleasure in the poetic movements of the human body: The bakery scene, set to the urgent notes of “Your Name,” is a sensuous arrangement of flesh and food. Black and white arms cover each other around dough. Pastry chefs lyrically pirouette to Cyrano’s ardent verses. Unlike in other recent movie musicals like In the Heights , Tick, Tick… Boom! , and Dear Evan Hansen ), Cyrano ’s richly framed compositions (by longtime Wright DP Seamus McGarvey) never uncut the intended majesty of the song and dance sequences.

The scale of this Cyrano — reminiscent of that Depardieu version — recalls Wright’s detailed work on his 2012 film Anna Karenina . McGarvey leans on a deep depth of field and gliding tracking shots to take in the vast crowd of extras in finely textured costumes, and the warm palette of the lavish production design. Wright and editor Valerio Bonelli ( Darkest Hour and Florence Foster Jenkins ) are smart enough not to manufacture raw emotion by overcutting: They reach for fades to create diptychs and triptychs. (A sterling example comes during the spellbinding “Every Letter,” where Cyrano, Christian, and Roxanne harmonize together.)

Bennett gives this Roxanne a surprising depth in spite of her shallow concerns, playing her far closer to an unfulfilled intellectual than a daydreaming debutante. Her full-throated rendition of “I Need More,” a song about not settling, adds further contours. Some songwriters gain greater resonance, a bigger spark of magic, from vocalists like Bennett, whose performance is hypnotic.

Ben Mendelsohn as De Guiche, in a curled and ribboned wig, kisses the hand of clearly unwilling Haley Bennett as Roxanne in Joe Wright’s Cyrano

The blooming romance between Christian and Roxanne is also transcendent. After Harrison’s turns as troubled teens in the coming-of-age dramas Luce and Waves , his innocent, charming role here is a welcome revelation. He mixes effortlessly with Bennett for a combustible chemistry of idyllic young love that in Mitski’s words, become an irresistible “heat lightning.” They’re so easy to root for, to the point of making cinema fans pine for the days where a success like this would mean half a dozen more romantic-film pairings for Harrison and Bennett.

Cyrano promises Roxanne: “As ever, I am at your service.” In her service, the fragile balance between him giving words to Christian’s passions and protecting Roxanne’s feelings crumbles, leading to irreconcilable damages for the throuple as De Guiche comes prowling. Mendelsohn, the best villain of his generation, shines in the darker, bleaker corners of the film. There’s never been a more ruthless, more vicious De Guiche than his. Every note of his seething rendition of “What I Deserve” digs in like rusty talons through tender skin.

Dinklage’s assured performance advances with equal precision. His interpretation of Cyrano veers closely to Ferrer’s: He plays the prideful poet as a swashbuckling wit. Unlike his predecessors, however, Dinklage allows a measurable vulnerability to seep into the boastful hero.

If there’s one shortcoming in Wright’s film, it’s the songs. This musical is one tune short of being an irresistible collection of earworms. Often, Dinklage bears the brunt of the weaker material: His low-octave voice closely matches The National’s indelible sound, but the plain monotony will grate for many non-fans. Harrison and Bennett’s approachable vocals, on the other hand, offer much-wanted respite, as does the ensemble performance of “Wherever I Fall,” a mournful sublimation of quiet last wishes into heartbreaking openness.

Haley Bennett as Roxanne smiles on the other side of a stone pillar from Peter Dinklage as Cyrano in Joe Wright’s Cyrano

Dinklage overcomes those hurdles for what may be the best performance of his career. He grasps the wide range between morose admirer, hurt confidant, and rugged war hero, for a creation far less theatrical than his predecessors in the role. His groundedness fixes the melodramatic narrative to a realness that holds the character’s naked agony to the surface without succumbing to treacly emotions.

It’s tempting to declare this film a cult classic in the making. But critics shouldn’t make such proclamations — audiences should. But Wright’s Cyrano , dropping on the edge of Oscar season, should deservedly find the kind of passionate fans who flocked to see the Best Picture-winning Shakespeare in Love . Because not only do Wright and Dinklage fashion an unrequited anguish worth crying over, again and again. Cyrano is the best movie musical of the last decade.

Cyrano debuts in theaters on Feb. 25.

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Cyrano review: Peter Dinklage recasts a classic as a sumptuous Mediterranean musical

The nose is not the thing in 'Atonement' director Joe Wright's Sicily-set reimagining.

Some people got deep into bread or knitting during the pandemic; director Joe Wright ( Darkest Hour , Atonement ) went to Sicily and made a musical out of one of classic literature's most indelible heroes. He is not, of course, the first filmmaker to put Cyrano de Bergerac on screen: Dozens of movies and stage musicals precede him, a showcase for stars like Christopher Plummer , Gérard Depardieu, and even Steve Martin (who played the role as a small-town fire chief with a Rhode Island-size nose in the 1987 romantic-comedy update Roxanne ).

Here, the physical trait that sends Cyrano ( Peter Dinklage ) into the shadows despite his evident intelligence and bravery is his stature; how dare he expect to earn the hand of the land's greatest beauty ( Hillbilly Elegy 's Haley Bennett ), when his own hardly reaches her clavicle? In public life, he's a fearless swashbuckler and raconteur, a noted swordsman whose pitiless wit cuts nearly as sharp as his blade. In private, he pines for the lovely Roxanne, whose relative poverty forces her to accept the attentions of a predatory nobleman, De Guiche (a preening Ben Mendelsohn , who happily eats parts like these for breakfast).

But Cyrano isn't the only one who's smitten; a young soldier named Christian ( Waves ' Kelvin Harrison Jr. ) has the same girl in his sights, though he lacks the verbal skills, or at least the confidence, to woo her. And so the pair combine forces to create a sort of supersuitor: Christian's flawless face, Cyrano's pretty words. ( South Side 's Bashir Salahuddin, as the loyal but wary Le Bret, is the only other one who really knows the extent of his friend's feelings and the danger he's courting with his subterfuge.)

Wright has a way of creating whole sumptuous self-contained worlds in projects like Anna Karenina and even the recent, regrettable The Woman in the Window , and Cyrano betrays none of COVID-era filmmaking's now-familiar limitations. His expansive colorblind casting and sun-drenched exteriors bring new richness to Erica Schmidt's 2018 theater piece (she also penned the script) — almost every shot is framed like a Renaissance painting, and the songs, by members of indie-rock stalwarts the National, have an earnest, orchestral tunefulness.

The musical bits are worn lightly, less an anchor for the film than a sort of warm filigree traced on top. And the main cast mostly treats them that way, forgoing big gestures and jazz-hands theatricality for a more easy kind of naturalism that serves the modesty of the melodies well. (Of them all, Bennett has the closest thing to a real performer's voice, supple and intimate.) What the movie never quite sells is its central love story; it must be the romance of the century, because the characters can't stop saying (or singing) so, but the pair's supposedly crucial bond feels more like sweet friendship forced to conform to the worn contours of a fairy tale. The real draw is Dinklage: with his mournful eyes and crooked smile, he's the tender, towering soul of Cyrano . B+

After a one-week qualifying run in New York and L.A. beginning Dec. 17, Cyrano arrives in limited release on Jan. 28 and goes wider in early Februrary.

Cyrano Review

25 Feb 2022

Joe Wright ’s Cyrano opens on a beautifully framed image of a marionette. After his mishandled attempt at noir-y thriller The Woman In The Window , the director, whose parents ran a puppet theatre, has returned to more solid, fruitful ground, ironically by embracing his more experimental side: a musical adaptation of Edmond Rostand’s 1897 play Cyrano de Bergerac , based on Erica Schmidt’s 2018 stage show, scored by The National and shot during the pandemic in Sicily. It might be more eccentric than engaging and it can’t escape the yarn’s well-worn contours, but it’s regularly inventive, lush-as-anything, and grounded by a charismatic Peter Dinklage performance.

Dinklage originated this incarnation on stage (he is married to creator Schmidt) and the reinvention is a masterstroke, his physical difference feeling instantly more convincing and poignant that the character’s traditional over-sized hooter. His loquacious Cyrano is  a skilled swordsman with the courage to effortlessly take down ten assailants — the fights are beautifully staged by Wright — but lacking the bravery to declare his feelings for his childhood friend Roxanne ( The Girl On The Train ’s Haley Bennett ). But when Roxanne falls fast and deep for ridiculously handsome soldier Christian ( Waves ’ Kelvin Harrison Jr ), Cyrano sees an opportunity to share his ardour in a safe way by writing love-letters for the inarticulate military man. “I will make you eloquent,” he suggests, “while you will make me handsome.”

If Cyrano has a precedent in Wright’s back catalogue, it is his adaptation of Anna Karenina , lending another revered classic a mixture of playfulness and high style. courtesy of luscious costumes, theatrical production design and immaculately orchestrated camera moves. If sometimes his MO feels needlessly ornate, other times he gets it exactly right: the way he stages the story’s infamous balcony scene — where Cyrano has to speak Christian’s words — is both believable and magical.

Even if his singing isn’t the strongest, this is Dinklage's movie.

The songs, composed by The National’s Bryce and Aaron Dessner — with lead singer Matt Berninger and Carin Besser providing  the lyrics — smack of the band’s bruised romanticism. It’s a mixed bag of tunes but the more memorable songs lie beyond the central duo: Roxanne’s suitor, the detestable Duke De Guiche (a too broad Ben Mendelsohn, rocking a cape like Krennic), gets a strong this-is-my-evil-plan number and the most memorable song is sung by soldiers writing letters home on the eve of a big battle, the combat evocatively mounted by Wright against the white of Mount Etna.

Bennett is engaging as Roxanne — her performance and Erica Schmidt’s writing mitigate the story’s sexist undertow where the character is lumbered with the double-whammy of being dumb and shallow — and Harrison Jr does enough with Christian to complicate the love triangle. But this is Dinklage’s movie. Even if his singing isn’t the strongest, his limitations add to Cyrano’s vulnerability, and he can convey deep wells of intelligence, anger, yearning and regret with the slightest of facial infections. Etching a thoughtful, proud man hamstrung by doubt, he grounds Wright’s footloose and fancy-free aesthetic and makes the final moments surprisingly affecting.

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Peter dinklage and haley bennett in ‘cyrano’: film review | telluride 2021.

The stars reprise their stage roles as Cyrano de Bergerac and his beloved Roxanne in director Joe Wright's musical spectacle, also starring Kelvin Harrison Jr.

By Stephen Farber

Stephen Farber

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During the pandemic, director Joe Wright decided that what the world might need is a new musical version of Edmond Rostand’s classic 19th century poetic drama Cyrano de Bergerac . That may sound like an outlandish idea, but the movie version of Cyrano turns out to be one of the highlights of this year’s Telluride Film Festival . Beyond that, I think it is Wright’s best film, even though it has some problematic elements.

The idea of Cyrano as a musical is not new. In fact, this film is based on a stage musical that was presented at Goodspeed Opera House in Connecticut a few years ago. That show was written by Erica Schmidt (who also wrote the screenplay for the film) and starred Peter Dinklage (who is married to Schmidt) and Haley Bennett . The two stars reprise their roles in this big-screen version. (Dinklage appeared in the production alongside a different lead off-Broadway in 2019 .)

Full credits

Venue: Telluride Film Festival Distributor: United Artists Production companies: MGM, Bron Creative, Working Title Cast: Peter Dinklage, Haley Bennett, Kelvin Harrison Jr., Ben Mendelsohn, Bashir Salahuddin, Monica Dolan, Mark Benton Director: Joe Wright Screenwriter: Erica Schmidt Based on the musical by Erica Schmidt and the play by Edmond Rostand Producers: Tim Bevan, Eric Fellner, Guy Heeley Executive producers: Aaron L. Gilbert, Jason Cloth, Matt Berninger, Carin Besser, Aaron Dessner, Bryce Dessner, Erica Schmidt, Sarah-Jane Robinson, Sheeraz Shah, Lucas Webb Director of photography: Seamus McGarvey Production designer: Sarah Greenwood Costume designer: Massimo Cantini Parrini Editor: Valerio Bonelli Music: Bryce Dessner, Aaron Dessner Lyrics: Matt Berninger, Carin Besser

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Peter Dinklage stars in a heart-rending, haunting ‘Cyrano’

Joe Wright gives “Cyrano de Bergerac” a timely, smartly conceived refresh with “Cyrano,” his adaptation of an adaptation of Edmond Rostand’s 1897 play. In 2019, writer Erica Schmidt staged a production starring her husband, Peter Dinklage, in the title role, adding music by Aaron and Bryce Dessner of the band the National. In Wright’s screen version of that show, the director evinces the same sensitivity he’s brought to such films as “Pride & Prejudice,” “Atonement” and “ Anna Karenina ,” bringing a newfound sense of spontaneity and freedom to his distinctive jewel-box aesthetic.

Filmed in the picturesque Sicilian town of Noto during the height of the pandemic lockdown, “Cyrano” is unmistakably a period piece, transpiring in the 17th century during the Franco-Spanish War. But it’s also infused with anachronistic touches that give it a jolt of offhand humor and fierce urgency. As the film opens, a dewily radiant — but nearly penniless — beauty named Roxanne (Haley Bennett) prepares to attend the theater with her oily and insistent suitor, the Duke De Guiche (Ben Mendelsohn). Once ensconced, the play begins, only to be interrupted by Cyrano, who swoops in on a rope and proceeds to insult the lead actor, disrupt the audience and engage the foppish hanger-on Valvert (Joshua James) in a rap battle and duel.

The sequence of anticipation, wordplay and swordsmanship accelerates with balletic energy, with Wright’s unintrusive camera always on the move to capture the action as well as smaller gestures. It’s here that Roxanne locks eyes with Christian (Kelvin Harrison Jr.), and the two fall for each other in an instant. Later, the handsome but inarticulate Christian will enlist the supposedly unhandsome but eloquent Cyrano to woo Roxanne from afar, in a plot of unrequited love, unspoken desire and ego-driven self-deceit that has lasted through the ages.

I say “supposedly unhandsome” because, although Dinklage’s Cyrano might be deemed sexually stymied by his dwarfism, it’s difficult to imagine anyone being immune to his smoldering appeal. With his ember-like eyes, soulful face and core of bristling anger, Dinklage gives his character (whose fatal flaw in Rostand’s play was an unattractively large nose) a charge of pure animal magnetism. Bennett, as the bright but vain and manipulative Roxanne, plays her character with an air of suspicion that something might be sparking between them, even though their lifelong friendship has been purely platonic. (Then again, Roxanne’s inability to get past Cyrano’s “unique physique,” in the words of his friend Le Bret, eerily anticipates today’s social media culture in which image is everything. ’Twas ever thus.)

What ensues is one of the great tragedies of romantic literature, a heartbreaking exercise in classic irony that serves as a commentary on appearance and reality, facade and authenticity, and human beings’ enduring inability to get out of our own way. Set against gorgeous real-life locations (including a dramatic wartime sequence filmed on Mount Etna), Wright’s “Cyrano” is bathed in creamy pastels and increasingly stylized tones of gray and bone white, the soothing palette spiked with occasional shots of crimson, by way of the jackets worn by Cyrano, Christian and their fellow soldiers. The stagecraft, seemingly as inspired by commedia dell’arte tumbles and pirouettes as by grittily naturalistic cinema verite, possesses a buoyant sense of spirit and movement. When Wright comes in for the occasional close-up, it’s to capture the pain, confusion and longing on his protagonists’ alternately bemused and besotted faces.

“Cyrano” joins a crop of recent movies that have sought to revivify the musical form: Here, the effort is uneven, if ultimately deeply moving. Although the Dessner brothers’ songs, with lyrics by bandmate Matt Berninger and Carin Besser, are perfectly suited to Dinklage’s mellow baritone, they begin to sound repetitive and on-the-nose over the film’s two-hour running time. Bennett and Harrison are both lovely, lyrical singers, but oddly “Cyrano’s” most shatteringly effective musical moment arrives by a trio of cameo players, when Glen Hansard, Sam Amidon and Scott Folan — playing soldiers about to go to battle — sing “Wherever I Fall,” an achingly beautiful anthem to love, grief and yearning.

That scene feels particularly affecting at a moment when the world apprehensively awaits another war. “Cyrano,” like the best art its implacable hero celebrates, is full of poetry, romance, terror and truth. It feels beamed from a distant past, but also sprung fully formed from 21st century anxieties. Wright has given Rostand and Schmidt’s twin visions his own signature: fleet, playful and unapologetically fanciful, but also tempered by surpassing sadness and loss. The result is equal parts heart-rending and haunting.

PG-13. At area theaters. Contains some strong violence, mature thematic elements, suggestive material and brief coarse language. 124 minutes.

Cyrano Review: A Brilliant Adaptation of the Swashbuckling Musical Romance

A dwarf soldier (Peter Dinklage) helps another (Kelvin Harrison Jr.) woo his true love (Haley Bennett) in Cyrano.

Peter Dinklage continues to shatter acting archetypes as the swashbuckling swooner Cyrano . He reprises his starring role from the acclaimed Off-Broadway musical by Erica Schmidt. Now adapted for the big screen by British auteur Joe Wright. Who crafts an elegant period romance with dramatic and sublimely artistic heft. The film is a tragic tale of unrequited love. Cyrano suffers from intermittent pacing issues, but never loses its grip on your heart.

In Napoleonic Paris, the ravishingly beautiful and sophisticated Roxanne (Haley Bennett) has the vile suitor, De Guiche (Ben Mendelsohn), clamoring for her hand in marriage. Roxanne detests him, but her handmaiden (Monica Dolan) warns they are skirting poverty. A wealthy husband means food on the table and a roof over the heads. Roxanne accepts a theater date from De Guiche but is transfixed by a sultry gaze from the handsome Christian (Kelvin Harrison Jr.). Surely this is love at first sight.

Meanwhile, famed soldier Cyrano De Bergerac (Peter Dinklage) has secretly loved Roxanne for ages. They are dear friends, but he cannot overcome his embarrassment of being a dwarf. How can someone as detestable as him woo such a woman? Cyrano is devastated when Roxanne reveals her intent on finding Christian. His soul is further crushed when Christian enlists in Cyrano’s army unit. He quickly realizes that Christian’s awkward and bumbling personality has no chance with her. Cyrano decides to bury his feelings deep and help Christian win Roxanne’s affection.

Cyrano is not just a character that hides in the shadows feeding sweet poetry to Roxanne. He’s a skilled fighter who’s consistently challenged on streets and battlefields. Peter Dinklage wields his rapier with lethal precision. I expected singing and dancing but was frankly stunned by the film’s fight scenes. Joe Wright (Atonement, Darkest Hour) allows Dinklage to fully embody all aspects of the role. His stature as a dwarf leads enemies to underestimate him. They pay the price for arrogance with their lives.

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The musical numbers are brilliantly staged. Joe Wright does not succumb to unnecessary extravagance. Some scenes are epic, while others are quietly suited to the moment. Wright never allows the script to become overblown. He puts his faith in the ability of his cast to carry subtle gravitas without indulgent filmmaking. This is especially evident in the masterfully directed initial romantic forays involving Cyrano, Roxanne, and Christian.

The classic French play Cyrano De Bergerac had the protagonist ashamed of his protuberant nose. Dwarfism is not an affliction or a curse. The character update is effective in showing how Cyrano needlessly allowed his self-worth to be defined by the cruelty of others. The lesson is that true love needs to be blind. Roxanne would not deserve such adulation if she discounted Cyrano solely based on his height.

Cyrano is a well-acted and directed musical. I’m not usually a fan of the genre, so it was a pleasant surprise. The film runs a smidge over two hours. It’s not long, but there are periods of sluggishness. The monologues add up. The narrative needs the characters to express their feelings with lengthy asides. There’s a lot to like here, so the pacing is forgivable. Cyrano is a production of MGM, Bron Creative, and Working Title Films. It had a limited Los Angeles engagement on December 17th to qualify for awards contention. Cyrano will have national distribution on January 21st from United Artists Releasing.

Cyrano’s Joe Wright and Peter Dinklage Bring New Life to a Familiar Story

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The story of Cyrano de Bergerac has been told many times in many forms for more than 100 years, and director Joe Wright's new version doesn't deviate significantly from the major plot points or characters. However, Wright and screenwriter Erica Schmidt -- working from her own stage play -- put enough of their stamp on the material to make Cyrano feel fresh, whether for viewers familiar with other versions of the story or for those coming to the classic tale for the first time.

The changes start with the casting of the title character, who is typically depicted with an abnormally large nose, the physical distinction that makes the intelligent, erudite warrior an insecure introvert when it comes to romance. Here, Cyrano's nose is unremarkable, but star Peter Dinklage's dwarfism sets Cyrano apart in a different way, and Schmidt doesn't play coy about how that affects the title character. Cyrano makes explicit references to his stature, which causes foes to underestimate his fighting skills but also convinces him that he's unworthy of the love of his lifelong friend Roxanne (Haley Bennett).

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Set in 17th-century Paris, this reimagining of Edmond Rostand's 1897 play is a musical, with songs by members of indie rock band The National (Aaron Dessner, Bryce Dessner, Matt Berninger, Carin Besser). The music, which splits the difference between Broadway-style expressiveness and singer-songwriter moodiness, drives the storytelling, even though most of the cast members are passable singers at best. The singing starts within just a few minutes of Cyrano 's beginning, as Roxanne sings her "I want" song about hoping to find true love. "Children need love; adults need money," her maid tells her, encouraging her to marry the wealthy but insensitive Duke de Guiche (Ben Mendelsohn). Instead, Roxanne falls in love at first sight with Christian de Neuvillette (Kelvin Harrison Jr.) after spotting him at the theater.

That's where Cyrano makes his grand entrance, speaking in verse as he insults the pompous actor onstage then dueling with an audience member who objects to his impertinence. The scene demonstrates Cyrano's wit and charisma as well as his skills with a sword, and Dinklage talk-sings his way through his musical number as he parries and thrusts. He delivers later songs in a more traditional singing voice, but his vocals are never particularly strong, and Bennett is the only actor who gives a truly impressive musical performance.

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For the most part, though, these aren't bombastic musical numbers that call for overpowering voices. The songs' resonance often comes from how quiet they are, while remaining forceful and memorable. After singing of her desire to find love, Roxanne rushes to meet with Cyrano the next day, and he foolishly hopes that she's going to declare her love for him. Instead, she confesses that she loves Christian even though she's never spoken with him, and entreats Cyrano to intervene on her behalf, since both he and Christian serve in the city's guard. Cyrano believes that he's no romantic match for the young, handsome Christian, so he agrees to help Christian in his romantic correspondence with Roxanne.

More than Cyrano's nose, the most famous element of the Cyrano story is his pact with the inarticulate Christian, who needs Cyrano's mellifluous words to woo Roxanne. "I will make you eloquent, while you make me handsome," Cyrano promises Christian, and Cyrano pours out all his feelings for Roxanne in letters that are signed with another man's name. In the play's most iconic scene, Cyrano speaks directly to Roxanne as he stands in the shadows beneath her balcony, while she believes she's talking to Christian. In the movie, of course, that scene turns into a musical duet, a demonstration of Schmidt's ability to make the songs central to the story.

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While Dinklage may not possess the greatest singing voice, he gives one of his best dramatic performances as the wistful, lovelorn Cyrano. He sublimates his desires into poetry and sword-fighting, and would seemingly rather sacrifice his life than admit his true feelings and risk rejection. Bennett matches the depth and anguish of Dinklage's performance as a character who could have existed merely as an object of desire for the various male characters. Instead, her longing for true love feels achingly real. It's not surprising that this is a movie made by two sets of romantic partners -- Schmidt and Dinklage, Wright and Bennett.

After several recent missteps in blockbuster-style filmmaking , Wright recaptures some of the flair that he brought to his excellent literary adaptations Pride & Prejudice and Anna Karenina . The world of Cyrano is vibrant and colorful, and the movie never feels stage-bound despite its theatrical origins. In the third act, when Cyrano and Christian are sent off to war by the vengeful De Guiche, Wright captures the horrors of battle even while retaining the romantic tone of the film. One of the movie's standout moments is a musical number featuring unnamed soldiers facing their doom, singing about what they're leaving behind at home.

Its ability to heighten the emotions of an already swooningly emotional story is the true power of this version of Cyrano . Everyone from Gérard Depardieu to Steve Martin has taken a crack at this character and this story, but Wright and company still make viewers feel all of those emotions as if it's the first time.

Cyrano opens Friday, Feb. 25 in theaters nationwide.

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When you come down to it, there aren’t that many fictional characters who truly transcend the age in which they were conceived. Cyrano de Bergerac, based, at least loosely, on a real-life nobleman of the 17th century, was brought to theatrical life by the verse playwright Edmond Rostand in the last years of the 19th century, and remains an enduring fiction.

The character is a man of ferocious eloquence and great physical courage—rendered somewhat ridiculous by his outsized nose. He loves passionately and is not loved in return, and instead becomes the voice of another, his close friend and romantic rival. Variations on the Cyrano scenario have been rife over the past hundred years so—the anti-lookism teen comedy “ Sierra Burgess Is a Loser ” is a gender-flipped high-school take on Cyrano. In the pantheon of French culture, Rostand’s play remains one of the most valued of exports.

“Cyrano, My Love,” written and directed by Alexis Michalik , adapting his own acclaimed play, is a backstage account of the writing and staging of the play. From what I can glean—and I have no special expertise in 19th century French theater, or Rostand, or the real Cyrano—it’s not particularly historically accurate. But it is lively, fast paced, charming and funny, and it showcases an especially delightful comic performance from Belgian and French cinema stalwart Olivier Gourmet .

The movie begins with a flop—the flop of Rostand’s poetic drama La Princesse Lointaine , starring the legendary Sarah Bernhardt. Rostand ( Thomas Solivérès ), a man small of stature but great of passion (you see the parallels forming), with a loving wife and small family to support, is flummoxed, and spends no small amount of time battling writer’s block. One day he is summoned to the theater of the stage giant Constant Coquelin (Gourmet); the night before his appointment he goes to the Moulin Rouge with his tall, handsome pal Leo (Tom Leebs), and they meet the enchanting Jeanne ( Lucie Boujenah ), with whom Leo is infatuated and Edmond ambiguously entranced.

At Coquelin’s place the next day, the exuberant actor suggests Rostand provide him with a comedy, and in one of the film’s most virtuosic scenes, the playwright invents Cyrano out of whole cloth, and provides dialogue for him in a variety of rhetorical modes as Coquelin provides the prompts. Solivérès really goes to town here, and it’s a good thing he does, because Gourmet is going to go on to steal every scene he’s in. Known mostly in the States as a dour presence in films by the Dardenne brothers, Gourmet here is a motor of comedic enthusiasm.

The movie doesn’t exactly sag in energy when he’s off screen, but one does tend to notice how on-the-nose Michalik’s plot contrivances can get when the movie wanders away from Coquelin’s theater. Michalik’s invention of a black bistro owner, Honoré (Jean-Michel Martial) who cheers on the cast and playwright while fighting small battles against bigotry, is a salutary touch that’s well-played. And the kinda-sorta “Noises Off” hijinks that he has accompany the premiere of Rostand’s triumph are pulled off nicely as well. As backstage movies go, this isn’t as profound as “Topsy Turvy” but it’s almost as much fun as “ Shakespeare in Love .”

Glenn Kenny

Glenn Kenny was the chief film critic of Premiere magazine for almost half of its existence. He has written for a host of other publications and resides in Brooklyn. Read his answers to our Movie Love Questionnaire here .

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Film credits.

Cyrano, My Love (2019)

110 minutes

Thomas Solivérès as Edmond Rostand

Olivier Gourmet as Constant Coquelin

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Ron Howard's Jim Henson Movie Holds Perfect Rotten Tomatoes Score

Director Ron Howard has a hit on his hands with the new documentary Jim Henson: Idea Man . Following its release on Disney+ in May, the movie is still holding a perfect approval rating with critics.

On Rotten Tomatoes, Jim Henson: Idea Man is sitting with a 100% approval rating , given a positive review from every critic on the website. The audience score is almost just as high, as it's at 96% . The film is getting great praise for its compelling look into the life and career of Jim Henson , a beloved figure who's still missed by fans more than 34 years after his death.

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"You leave the movie with a better understanding of this monumental figure, while also feeling like he's still something of an enigma. And that's as it should be," said Newsday critic Robert Levin. Victor Stiff of Victor Stiff Reviews added, " Idea Man offers viewers a front-row seat to watch a genius at work, chronicling how a maverick puppeteer transformed some ping pong balls, leather, and felt into a multi-million dollar empire."

Brian Lowry of CNN.com added, "Kermit might have sung that it’s not easy being green, but watching Jim Henson: Idea Man , it’s very easy appreciating the mind that gave us the Muppets and more, while still acknowledging the human foibles of the hand behind them."

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"The entire crew did a spectacular job on making this documentary about the most popular and legendary puppeteer/filmmaker Jim Henson," reads another glowing comment from the audience reviews. It was truly amazing how he brought his imagination to life and shared it with the world. Not only was he a great performer, he was a good man at heart. If you haven't seen this documentary yet, check it out sometime. It's a definite must see ."

Directed by Ron Howard, Jim Henson: Idea Man was written by Mark Monroe and Michael Mitnick. Lisa Henson produced alongside Howard, Monroe, Sara Bernstein, Margaret Bodde, Brian Grazer, Christopher St. John, and Justin Wilkes.

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Jim Henson is best known for creating the Muppets, though he's also celebrated for creating Fraggle Rock and directing the movies The Dark Crystal and Labyrinth . He also worked on the children's educational series Sesame Street . Outside of show business, Henson was known for his support of the civil rights movement. The beloved creator died of toxic shock syndrome in 1990 at the age of 53.

Jim Henson: Idea Man is streaming on Disney+.

Source: Rotten Tomatoes

Jim Henson Idea Man (2024)

Jim Henson, the visionary creator behind the Muppets, embarks on a journey that transforms the landscape of children's entertainment. From his early days experimenting with puppetry on local television to creating beloved characters like Kermit the Frog and Miss Piggy, Henson's innovative spirit and relentless creativity shine through. The film delves into his groundbreaking work on "Sesame Street" and "The Muppet Show," as well as his ambitious ventures into feature films like "The Dark Crystal" and "Labyrinth."

Director Ron Howard

Release Date May 31, 2024

Cast Fran Brill, Dave Goelz, Jennifer Connelly, Brian Henson

Writers Mark Monroe

Runtime 111 Minutes

Main Genre Documentary

Genres Documentary

Ron Howard's Jim Henson Movie Holds Perfect Rotten Tomatoes Score

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The 10 worst-reviewed movies new on netflix in june 2024.

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UNIVERSAL CITY, CA - MAY 1: Actor Will Ferrell arrives at the premiere of "Kicking and Screaming" ... [+] at Universal City Walk on May 1, 2005 in Universal City, California. (Photo by Frazer Harrison/Getty Images)

Not every movie new on Netflix in June 2024 was embraced by critics, especially those starring Will Farrell or Shailene Woodley.

Of course, just because a movie doesn’t resonate with critics the way others do doesn’t mean that it won’t find an audience on Netflix.

The venerable streaming service has given new life to many movies over the years that didn’t get some love from critics and audiences, yet have managed to make it onto the streaming channel’s weekly Top 10 Movies chart either globally or in the U.S., if not both.

One recent example of a film defying critics is Matt Damon’s 2016 monster movie The Great Wall , which was splattered with negative reviews on Rotten Tomatoes with a 35% “rotten” rating, based on 238 reviews.

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Despite the negative critical reception of the film, The Great Wall managed to scale upward to make both the Global and U.S. Top 10 Movies charts on Netflix.

More recently, Rotten Tomatoes critics shredded Jennifer Lopez’s new Netflix movie Atlas but it was the streamer’s most watched movie after only three days on the streamer.

Here’s a look at the 10 worst-reviewed movies (make that 11 since there’s a tie) new on Netflix in June, according to Rotten Tomatoes reviewers.

10. ‘Kicking & Screaming’ (2005)

Will Ferrell stars as Phil Weston in this sports comedy, a youth soccer coach who has never lived up to his competitive dad’s (Robert Duvall) expectations. Phil is put to the test when his soccer team faces off against his dad Buck’s team.

Rotten Tomatoes critics weren’t impressed with Kicking & Screaming’s impressive lineup—including a cameo by legendary NFL coach Mike Ditka—giving it a 41% “rotten” rating based on 142 reviews.

Audiences liked Kicking & Screaming a tiny bit more, as RT verified users gave the film a 43% “rotten” Audience Score based on 50,000-plus ratings.

Kicking & Screaming debuted on Netflix on June 1.

9. ‘Two Can Play That Game’ (2001)

Like Kicking & Screaming , the romantic comedy Two Can Play That Game has an impressive cast, including Vivica A. Fox, Morris Chestnut, Anthony Anderson, Gabriel Union and Mo’Nique.

Fox plays Shante, a woman who gives expert relationship advice to her girlfriends about keeping their boyfriends on the straight and narrow.

Shante, however, finds that following her own advice isn’t so easy when her beau Keith (Chestnut) shows he is just as adept at the relationship game.

Rotten Tomatoes critics didn’t find Two Can Play That Game to be an even match, though, giving the film a 40% “rotten” rating based on 62 reviews. Viewers largely disagreed with the critical assessment of the film as more than 25,000 verified users awarded Two Can Play That Game with an 83% positive Audience Score.

Two Can Play That Game debuted on Netflix on June 1.

8. ‘The Devil’s Own’ (1997)/ ‘Dune’ (1984) (Tie)

As the 1997 crime thriller The Devil’s Own proves, having two A-list global superstars does not guarantee a positive review from critics. In The Devil’s Own , Harrison Ford stars as New York police Officer Tom O’Meara, who unknowingly becomes entangled in a deadly plot by Frankie McGuire (Brad Pitt), a member of the Irish Republican Army.

Rotten Tomatoes critics refused to engage in the plot of The Devil’s Own , giving it a 37% “rotten” rating based on 41 reviews. Viewers like the film a bit more, giving it a 41% “rotten” Audience Score based on more than 25,000 user ratings.

The Devil ’s Own debuted on Netflix on June 1.

Nearly four decades before writer-director Denis Villeneuve tackled the adaptation of Frank Herbert’s classic 1965 novel Dune, legendary filmmaker David Lynch tried his hand at bringing the story of the messianic hero Paul Atreides ( Kyle MacLachlan ) to life on the big screen.

Critics buried Dune in reviews on Rotten Tomatoes , though, giving it a 37% “rotten” rating based on 117 reviews that stretch from current day to as far back as 1984 when the film debuted in theaters. More than 50,000 viewers have an opposite view of 1984’s Dune , though, awarding the movie with a 65% “fresh” Audience Score.

Dune debuted on Netflix on June 1.

7. ‘Welcome to Marwen’ (2018)

Steve Carell stars as Mark Hogancamp in this fantasy drama based on a true story from director Robert Zemeckis. After being beaten in a violent assault, Mark tries to piece his life back together by constructing a World War II-era Belgian town. It’s in the town—populated by dioramas and dolls—where Mark assumes the identity of a hero pilot to take himself away from his real-life torment.

Welcome to Marwen wasn’t welcomed by Rotten Tomatoes critics, which gave it a 34% “rotten” rating based on 171 reviews. The site’s Audience Score was better with a rating of 48% “rotten” user rating based on 1,000-plus reviews.

Welcome to Marwen will begin streaming on Netflix on June 16.

6. ‘A Million Ways to Die in the West’ (2014)

Movie Westerns have become a hard sell to audiences and critics in recent years, and writer-director Seth MacFarlane’s attempt to add comedy to the mix didn’t work for critics of A Million Ways to Die in the West .

The Family Guy creator certainly enlisted the talent to get the job done with a stellar cast including Charlize Theron, Liam Neeson, Amanda Seyfried and Neil Patrick Harris.

MacFarlane plays a sheep farmer in the Old West in A Million Ways to Die in the West , but Rotten Tomatoes critics put the movie out to pasture with a 33% “rotten” rating based on 212 reviews. Viewers thought the movie was “rotten,” too, awarding it a 41% “rotten” score based on 50,000-plus reviews.

A Million Ways To Die in the West debuted on Netflix on June 1.

5. ‘The Divergent Series: Insurgent’ (2015)

Like The Hunger Games , The Divergent Series is based on a set of hit Y/A novels about a future dystopian society. Insurgent is the second movie of author Veronica Roth’s book-turned-film series, following Divergent .

Shailene Woodley’s Tris and Theo James’ Four are the protagonists in the series, but Rotten Tomatoes critics hardly found the events of Insurgent heroic, giving the film a “rotten” 28% rating based on 207 reviews.

The film’s Audience Score of 58%—based on more than 50,000 user ratings, was a bit more forgiving, but still deemed Insurgent “rotten.”

The Divergent Series: Insurgent debuted on Netflix on June 1.

4. ‘Land of the Lost’ (2009)

Based on Sid and Marty Kroft’s classic Saturday morning TV series about a family who find themselves in prehistoric times after traveling through a time warp, Will Ferrell’s big-screen adaptation of The Land of the Lost was—for the lack of a better word— lost on critics.

Rotten Tomatoes reviewers gave Land of the Lost a combined 26% “rotten” rating based on 193 reviews, while audiences told the film to get lost, too, with a “rotten” 32% Audience Score based on more than 250,000 user ratings.

Land of the Lost debuted on Netflix on June 1.

3. ‘Fifty Shades of Grey’ (2015)

Simply put, E.L. James ’ massive bestselling novel 50 Shades of Grey didn’t translate well as a film adaptation. As such, the lurid tale about 21-year-old college senior Anastasia Steele’s (Dakota Johnson) descent into a BDSM relationship with billionaire businessman Christian Grey (Jamie Dornan) was met with a tough reception by critics.

Rotten Tomatoes reviewers gave Fifty Shades of Grey a 25% “rotten” rating based on 280 reviews, while viewers closed the book on the movie adaptation, too, with a 41% “rotten” Audience Score.

Fifty Shades of Grey will begin streaming on Netflix on June 18.

2. ‘National Security’ (2003)

While Martin Lawrence excels on the buddy cop comedy beat with Will Smith in the Bad Boys movie series, his turn as a security guard along with Steve Zahn in National Security was not locked up but locked out by critics.

As such, National Security was riddled with bad reviews as Rotten Tomatoes critics gave it a lowly 11% “rotten” rating based on 90 reviews. While more than 50,000 viewers had a much more positive reception for National Security , the film still only managed a 45% “rotten” Audience Score.

National Security debuted on Netflix on June 1.

1.‘The Divergent Series: Allegiant’ (2016)

The Divergent Series began in 2014 with Divergent , and everything went downhill from there with critical and audience response to the second and third film in the trilogy.

Like National Security , Rotten Tomatoes critics gave Allegiant an 11% “rotten” rating (based on 199 reviews) but the film’s 41 percent “rotten” Audience Score (based on 25,000-plus ratings) pushed it to the top—or is it bottom—of the 10 worst-reviewed films new on Netflix in June.

Given that the film series’ second chapter, Insurgent , scored a “rotten” 28% RT rating for the No. 5 slot, it only seemed fitting that Allegiant should get the No. 1 spot all to itself instead of sharing it with National Security .

The Divergent Series: Allegiant debuted on Netflix on June 1.

Note: This story has been updated from its original version to reflect a tie on the list and the addition of Welcome to Marwen.

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Screen Rant

Atlas rotten tomatoes score debuts as one of jennifer lopez’s worst-rated movies ever.

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Henry Cavill's Highlander Movie Is Very Likely To Avoid The Mistakes Of His Other Major Reboot

Whether noa spots ship from original planet of the apes movie in kingdom's ending gets candid response from star, 10 superpowers x-men's colossus never used in 5 movie appearances.

Atlas debuts to only 8% on Rotten Tomatoes.
The sci-fi film is only 2% away from being the worst-rated movie of Jennifer Lopez's career.
Atlas ' poor reception continues an unfortunate trend for Netflix when it comes to blockbuster-style action movies.

Atlas ' Rotten Tomatoes score is in, and the Jennifer Lopez movie earns one of the lowest scores of her career. Directed by Brad Peyton, Atlas stars Lopez as Atlas Shepherd , a data analyst who teams with an AI in order to face off against a rogue robot determined to wipe out humanity. The sci-fi action film marks Lopez's latest collaboration with Netflix after her 2023 hit, The Mother.

Atlas has now debuted on Rotten Tomatoes with a lackluster score of only 8% with 25 reviews, as of this writing. This score is likely to fluctuate as more reviews are added, but it makes the film the second-lowest-rated movie of Lopez's acting career after 2003's Gigli . The audience score for Atlas , however, is a more respectable 71%.

Atlas Continues An Unfortunate Netflix Trend

Recent action blockbusters from the streamer haven't delivered.

Atlas ' negative reviews aren't really an outlier when it comes to a certain kind of Netflix action movie. While the streamer has released some acclaimed films from celebrated filmmakers, some of its big-budget action fare has struggled to make much of an impact . Red Notice , for example, represents one of Netflix's most expensive movies ever made, but the film has only 37% on Rotten Tomatoes. The Red Notice reviews criticize the film for its cheap-looking visuals, bland characters, and predictable plotting.

Last year's Heart of Stone starring Gal Gadot largely suffered from the same problems. The movie was a big investment, but it has unexciting action sequences and very little depth; it doesn't really have anything to say about anything. Similarly, The Gray Man 's reviews were mixed at best and, like Red Notice , this film cost about $200 million. While a big viewership hit, the movie struggles to ascend beyond just feeling somewhat generic and disposable.

There are outliers, of course. Netflix's two Extraction movies, for example, have been of higher quality than their contemporaries (and also cheaper to make). But even Lopez's previous movie for the streamer, The Mother , only has a 43% on Rotten Tomatoes. The audience scores for a lot of the above-mentioned films aren't overly negative, however, suggesting there is enjoyment to be found for some viewers, but Atlas certainly seems like further proof that Netflix has a quality problem when it comes to its blockbuster-style action films.

Source: Rotten Tomatoes

Atlas (2024)

Atlas is a 2024 Netflix original movie starring Jennifer Lopez as Atlas Shepherd. Atlas, a data analyst who doesn't trust AI, who sets out to recover a rogue robot. But when things don't go according to plan, she is forced to trust AI in order to save humanity.

The Worst Saw Movie Has An Embarrassingly Low Score On Rotten Tomatoes

Ah, the "Saw" franchise. What started off as a tight little low-budget horror film blossomed into an entire saga that ushered in what some folks consider to be the "torture porn" era of horror movies . The "Saw" franchise is actually somehow still kicking — after the not-very-good "Spiral: From the Book of Saw," the series rebounded nicely with last year's surprisingly good "Saw X. " A new sequel, " Saw XI," is on the way, due out next year . Why do they keep making these movies? The answer is simple: people keep watching them. There was a time when Lionsgate had a new "Saw" movie ready to go almost every Halloween season, and that approach brought out the crowds. It got to the point where they adopted the clumsy tagline "If it's Halloween, it must be Saw."

While audiences have continued to turn out for "Saw" and its many death traps, critics haven't always been kind to the series. Heck, even the first film in the saga, which is arguably the best, sits at a "rotten" 50% on Rotten Tomatoes . In fact, every single entry in the franchise except "Saw X" has a "rotten" status from critics . But there's one film in the series that has the lowest rating. Can you guess what it is?

Saw: The Final Chapter: the worst Saw movie?

According to Rotten Tomatoes, the worst "Saw" movie is "Saw: The Final Chapter," which is also known as "Saw 3D" (the film arrived during the big 3D revival spurred on by "Avatar"). Of course, while this movie was marketed as "The Final Chapter" in 2010, the series would revive itself in 2017 with "Jigsaw." You just can't keep this franchise down. While "Saw 3D/The Final Chapter" was a box office hit, critics were not kind to the movie, making it the lowest-rated "Saw" film (it sits at a woeful 9% on Rotten Tomatoes ).

In this entry, a self-help guru who claims he survived Jigsaw's traps finds himself targeted by Hoffman, a rogue cop who is Jigsaw's apprentice. Also on board: Cary Elwes, returning as Dr. Gordon, the character he played in the first film. Gordon's fate was left up in the air in the original "Saw," but "3D/The Final Chapter" shows us what happened to him and where he is now. But none of this was enough to win over critics. The Rotten Tomatoes consensus: "Sloppily filmed, poorly acted, and illogically plotted, Saw 3D leaves viewers trapped in the most lackluster installment of the series." Ouch.

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The 5 Most Anticipated Movies of June 2024

This month's list includes an animated treat, a horror prequel, an action sequel, and more..

TAGGED AS: movies , Summer

The big movies in May didn’t exactly set the world on fire to kick off the summer movie season, so the hope is that we’ll see an uptick in June. The titles this month include an eclectic mix of franchise installments and critically acclaimed names across a variety of genres, from animation to horror to… whatever it is Yorgos Lanthimos is doing. We asked you to vote for the movie you’re most looking forward to this month, and an unlikely winner emerged, so read on for the most anticipated movies of June 2024!

Inside Out 2 (2024)

Release Date: June 14, 2024

Believe it or not, this Pixar sequel finished at the top of our poll by a pretty significant margin. Sure, the first Inside Out is a beloved, Oscar-winning fan favorite, but that’s not a particularly unique designation for a Pixar movie. Still, Amy Poehler looks to lead another strong voice cast, this time joined by Maya Hawke, Ayo Edibiri, Adèle Exarchopoulos, and Paul Walter Hauser voicing new emotions rising up in a now teenaged Riley.

A Quiet Place: Day One (2024)

Release Date: June 7, 2024

Coming in behind Inside Out 2 is this prequel to the popular A Quiet Place franchise. Whereas the first two films took place well after the series’ sound-sensitive monsters have already ravaged the planet, this one depicts the early days of the invasion, following a woman named Sam (played by Lupita Nyong’o) who struggles to survive as the creatures land in New York City. Michael Sarnoski makes the leap to blockbuster entertainment after giving us 2021’s Pig , taking over directorial duties from John Krasinski.

Bad Boys: Ride or Die (2024)

Release Date: June 28, 2024

Inside Out 2 and A Quiet Place: Day One dominated the votes this month, but the fourth Bad Boys film managed to top the rest of the bunch, proving that the franchise starring Will Smith and Martin Lawrence has still got some gas in the tank. This time around, Mike and Marcus find themselves on the run after the death of their former captain (Joe Pantoliano) compels them to investigate corruption within the Miami police department.

Kinds of Kindness (2024)

Release Date: June 21, 2024

Following just behind Bad Boys is the latest collaboration between writer-director Yorgos Lanthimos and Emma Stone, whose last film, Poor Things , earned four Oscars, including Best Actress for Stone’s work. Kinds of Kindness is arguably more challenging a film than Poor Things (if you can believe that), as it depicts a trio of loosely connected stories with its cast — which also includes people like Jesse Plemons, Hong Chau, Willem Dafoe, and Margaret Qualley, among others — portraying different characters in each segment.

Hit Man (2023)

Premiere Date: June 7, 2024 on Netflix

Lastly, we have this romantic crime comedy from Richard Linklater starring Glen Powell and Adria Arjona. The story, based on a magazine article in Texas Monthly from 2001, centers on a New Orleans police officer who poses as a hitman to arrest those seeking out his services but ends up falling for a woman who attempts to hire him to kill her abusive husband. Netflix debuted the film in theaters in late May, but it hits the streaming service on June 7.

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HAIKYU!! The Dumpster Battle Reviews

Those who have not religiously devoured the anime can just about appreciate the stakes of the rivalry between two high school teams, but would inevitably find themselves confounded at the plethora of rules and references that pepper the narrative...

Full Review | Jun 3, 2024

... A pleasant experience at the theatre that, once again and without excluding anyone, we recommend to those who are up to date with the series. [Full review in Spanish]

Full Review | Original Score: 3.5/5 | Jun 3, 2024

Haikyu!! The Dumpster Battle gives us a continuation of the anime we deserve and delivers a great game for the history books. [Full review in Spanish]

Full Review | Original Score: 4/5 | May 31, 2024

Because even if crows and cats battling in a dumpster doesn’t appeal to you, there’s still the promise of watching good athletes play a good game — and that’s worth a seat in the bleachers.

Full Review | May 31, 2024

It's not as visually inventive as THE FIRST SLAM DUNK, but it's entertaining in its "volleyball as fighter" aesthetic. I liked the numerous flashbacks triggered by on-court events and thought the overzealous positivity via end-to-end compliments was cute.

Full Review | Original Score: 6/10 | May 31, 2024

Susumu Mitsunaka and the animators at Production I.G create a compelling underdog versus underdog story as Karasuno High faces off against their training partners-turned-rivals at Nekoma High School.

Full Review | Original Score: 8.5/10 | May 31, 2024

Like the vast majority of Japanese animated movies, Haikyu!! stands out for its personality and intention to explore new cinematographic narratives. [Full review in Spanish]

A dull, exhausting and shallow bore.

Full Review | May 30, 2024

Watching animated characters play volleyball for an hour and a half is about as thrilling as it sounds.

Full Review | Original Score: 2/4 | May 29, 2024

For the uninitiated, you might as well be a cat or a crow watching this: much of it will leave you cold or simply go over your head.

Full Review | Original Score: 2/5 | May 29, 2024

"Dumpster Battle" is a good time for newbies, not a great time, but that may be enough to garner interest and explore the road to this moment. For fans, this appears to have been a longtime coming and will hopefully put old questions to rest for good.

Full Review | Original Score: 3.5/5 | May 28, 2024

“HAIKYU!! The Dumpster Battle” is an excellent, and much welcome return to one of the most popular titles of the last few years.

Full Review | Original Score: 7 | May 26, 2024

Directed with dexterous grace that amplifies the game’s adrenaline, Haikyu The Dumpster Battle is an undeniable triumph.

Full Review | Original Score: 8.5/10 | May 24, 2024

Somehow makes a simple volleyball game feel like the most important, high stakes, event in the world.

Full Review | May 22, 2024

This Underseen 2024 Crime Comedy Has a 100% on Rotten Tomatoes

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The Big Picture

LaRoy, Texas is an underappreciated gem, blending comedy, crime, and thriller elements.
James Magaro delivers a stellar performance as a depressed man turned ruthless killer.
Steve Zahn shines as a hilarious, scene-stealing amateur detective in this quirky film.

Don't mess with a hit man, you might find yourself in a pickle. The Grim Reaper comes in the form of a deranged contract killer in LaRoy, Texas . When he gets angry that another man took his next hit, he can't let it go, because you've always got to see it through til the end. A fantastic comedy crime thriller released in April 2024, it's a crime itself that it hasn't been consumed by the masses in all its bloodiness and glory. Directed and written by Shane Atkinson , it's one of the best dark comedy thrillers to come out in recent years, dealing with a small town littered with vigilantes, beauty queens, and murder.

A low-budget, independent thriller, LaRoy, Texas was destined to become an underappreciated gem for those venturing beyond the algorithm while trying to decide what to rent on a Friday night. For those who chose it over Dune 2 or Challengers , it's a major reward, just like the stolen money everyone in the film is fighting over. With a stacked cast featuring John Magaro , Steve Zahn , Megan Stevenson , Matthew Del Negro , and Dylan Baker , the film is rich with funny and terrifying performances. If you're bored and in need of a venture outside the box, do yourself a favor and wander into LaRoy, Texas for a bloody good time.

LaRoy, Texas

When Ray discovers that his wife is cheating on him, he decides he's going to kill himself. His plans suddenly change when a stranger mistakes him for a low-rent hitman.

What Is 'LaRoy, Texas' About?

LaRoy, Texas begins with the sadistic contract killer, Harry, played by the always creepy Dylan Baker, picking up his current target off the side of the road at night, then killing him in cold blood in his car. He's a professional, and the best at his craft. When he gets a call for his next hit in a town in the middle of nowhere Texas, LaRoy, he starts heading that way. Jump over to LaRoy, Texas, and a depressed salesman, Ray (Magaro), is contemplating suicide in his car one night after finding out his wife, Stacy-Lynn (Stevenson), is having an affair. He finds out courtesy of a newbie, amateur detective, Skip, played by the phenomenal Zahn. As Ray holds a gun in his hand under the glow of motel lights, the man who hired the hitman mistakes Ray for the guy, courtesy of the gun. He hands Ray cash, and lets him know he needs the kill done ASAP.

Ray goes through with the hit, and from there he starts a bloodbath across town as the hitman arrives to perform the job, and seeks retribution when he finds out the man is already dead. Once the dead man's body is discovered by police, Skip discovers Ray is the killer, and the two of them work together to find the missing money of the murdered man, which is why Ray was tasked with the killing in the first place. As various players in town are connected to the murder and search for the hidden fortune, Ray and Skip become an unlikely pair of outlaws as the heat and criminals come breathing down their necks.

James Magaro Plays a Depressed Man Transforming into a Merciless Killer

James Magaro is predictably brilliant as Ray, a meek, depressed man who has only ever lived for his wife, and now must find something else to live for. Though he didn't ask for it, his friend Skip, who's quit his job, has decided to become a detective with no credentials, and snaps pictures of Ray's wife heading into a motel for an affair. It's what sets everything in motion, and gets the blood pumping in Ray's veins again, which turns out to be bad for everyone. After Ray goes through with the hit, he finds he has a taste for violence, and this is where Magaro's performance really takes off. While he can play nice guys, seen in last year's acclaimed Past Lives , he also makes an excellent villain. Magaro was vicious and deranged as the surprise bad guy in Season 1 of The Umbrella Academy , and here again, he turns malicious.

With his dark sinister eyes and empty stares, Magaro transforms Ray into a force to be reckoned with. It's devastating to watch his transformation, and is a testament to Magaro's ability to play just about any kind of character . Unable to accept that his wife doesn't love him anymore, she is the cause of his destruction, and Magaro is like a live wire threatening to go off at any moment, which will inevitably happen.

Steve Zahn Is a Hilarious, Scene-Stealing Amateur Detective

LaRoy, Texas is dark and gritty with shootouts and torture, and Steve Zahn is the sunshine that sprinkles over the town with some of the best scenes in the movie. It's one of Zahn's most underrated performances of late, after experiencing a new wave of fame thanks to his performance in Season 1 of The White Lotus . Skip is like a tragic, unrealized inspector Closeau, striving for greatness but stubbing his toe on the way out of every shut door, while the cops in town play pranks on him as he parades around in a black suit, cowboy hat, and bolo tie. But it turns out, he's Ray's ride or die, and is determined to help get him off scott-free, as long as he can play detective by finding the missing money. This is where Skip becomes the true star of the movie, and gets the best scenes as a man in the trenches of a hilarious, midlife crisis. Some men buy cars, Skip prints out misspelled detective cards and solves crimes no one is asking him to solve.

Lord help those who come in Skip's way, for they might find their heads at the bottom of the toilet bowl. One of the first suspects Ray and Skip interview is a man who knew the deceased, played by an always reliable, always hilarious, Bob Clendendin . Playing a man named Ben, he refuses to give up any information, so Skip does what he has probably only seen in the movies. He takes Ben's head and puts it in the toilet. The only problem is that the movies are make-believe, and in real life, if you do that, you'll cease breathing. This then kick-starts a darkly funny scene of Ray repeatedly having to give Ben mouth-to-mouth before Skip goes all crazy again and shoves his head down the toilet. Zahn has a barely contained craziness that is addictive to watch, as his eyes widen like a cartoon character, licking his lip as he plots his next move.

If you Like 'Fargo', 'LaRoy, Texas' Shares a Similar Quirkiness and Violence

The Coen Brother 's film, Fargo , is one of the best dark comedy crime thrillers out there, with its blunt violence, small-town characters, and sadistic crooks. LaRoy, Texas takes a page out of the Fargo rule book by creating their own wild town of misfits and killers. Part of what makes LaRoy, Texas work so well is its impeccable casting, including Dylan Baker as the bloodthirsty hitman, Harry. The only way the film could be a success is if audiences are truly terrified of him as he gets closer to finding Ray and Skip. His chilling blue eyes never waver as he tortures townfolk, and he has the same eerie calmness that Billy Bob Thornton had in the television adaptation of Fargo in Season 1.

There are too many fantastic cameos in LaRoy, Texas to count. One of the best is Brad Leland as Adam Ledoux, who plays a slimy car dealer involved with the murder. Leland's best known role is as the beloved Buddy Garrity in Friday Night Lights , and the fact that he played a car dealer in that series as well is the perfect amount of self-indulgent nostalgia. Nothing is overdone, and the movie avoids falling into any predictable Hollywood movie trap. You never know how things are going to turn out. LaRoy, Texas, unexpectedly becomes a movie about friendship, and things get bloodier while Skip and Ray’s friendship only gets stronger. There’s a feel of Bonnie and Clyde or Thelma and Louise , as the two friends find themselves at odds with their world, but just want to be heroes, even just for a day.

LaRoy, Texas is available to rent on Amazon in the U.S.

Rent on Amazon

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Music: Aaron Dessner & Bryce Dessner; lyrics: Matt Berninger & Carin Besser. With: Peter Dinklage, Haley Bennett, Kelvin Harrison Jr., Ben Mendelsohn, Bashir Salahuddin, Monica Dolan. Erica ...
Cyrano review: Peter Dinklage gives a career best in this ...
The opening number in Joe Wright's movie musical Cyrano comes on soft and slow. "Something to Say" is a wistful, yearning ode to love, anchored by Roxanne (Haley Bennett), the love interest ...
Cyrano review: Peter Dinklage recasts a classic as a sumptuous
review: Peter Dinklage recasts a classic as a sumptuous Mediterranean musical. The nose is not the thing in 'Atonement' director Joe Wright's Sicily-set reimagining. Some people got deep into ...
'Cyrano' review: Peter Dinklage stars in a musical film that doesn't
"Cyrano de Bergerac" has been the model of a tragic love triangle for 125 years, often imitated but seldom equaled. The play turned movie under many different guises now adds a film version of ...
Cyrano Review
Cyrano Review. Lovelorn poet/soldier Cyrano (Dinklage) is unable to express his deeply buried feelings for childhood pal Roxanne (Haley Bennett). When she falls for Christian (Kelvin Harrison Jr ...
Cyrano de Bergerac
Upcoming Movies and TV shows; Trivia & Rotten Tomatoes Podcast; ... Rated 3.5/5 Stars • Rated 3.5 out of 5 stars 12/06/22 Full Review Tony S A supposed definitive movie adaptation of Cyrano, at ...
'Cyrano' Review
Director: Joe Wright. Screenwriter: Erica Schmidt. Rated PG-13, 2 hours 4 minutes. It should also be noted that the character of Cyrano is one of the most enduring in all of world drama, and ...
'Cyrano' movie review: Peter Dinklage stars in a heart-rending
Filmed in the picturesque Sicilian town of Noto during the height of the pandemic lockdown, "Cyrano" is unmistakably a period piece, transpiring in the 17th century during the Franco-Spanish War.
Cyrano Review: Peter Dinklage Is Awards-Worthy In Musical Romance
Cyrano is one of the most unexpected and gently handled films in recent memory. The film — an adaptation of Edmond Rostand's play Cyrano de Bergerac — is unlike any live-action that has brought the title character to life in the past.In the hands of Joe Wright, who directed the film from a screenplay by Erica Schmidt (who also wrote the stage production the film draws from), Cyrano is a ...
'Cyrano' movie: Everything we know
The movie has earned a 84% "Certified Fresh" ranking on Rotten Tomatoes, while the other critic aggregator site Metacritic scores the film at a 69. In What to Watch's review of Cyrano, the performances of Peter Dinklage and Haley Bennett are singled out, though the musical elements are argued to be the weakest element of the movie.
Cyrano Review
Cyrano is an interesting but uneven adaptation of Erica Schmidt's 2019 musical of the same name, which itself is an adaptation of Edmond Rostand's classic drama, Cyrano de Bergerac. As a ...
Cyrano (2022) Movie Reviews
A man ahead of his time, Cyrano de Bergerac (played by Peter Dinklage) dazzles whether with ferocious wordplay at a verbal joust or with brilliant swordplay in a duel. ... Cyrano (2022) Fan Reviews and Ratings Powered by Rotten Tomatoes Rate Movie. Close Audience Score. The percentage of users who made a verified movie ticket purchase and rated ...
Cyrano Review: A Brilliant Adaptation of the Swashbuckling ...
Cyrano is a well-acted and directed musical. I'm not usually a fan of the genre, so it was a pleasant surprise. The film runs a smidge over two hours. It's not long, but there are periods of ...
Peter Dinklage's Cyrano Movie Review
Cyrano's director Joe Wright and screenwriter Erica Schmidt make the oft-adapted material their own, leaving the movie fresh and raw. ... and the Las Vegas Film Critics Society, and has archived 2,000-plus reviews at Rotten Tomatoes. On the airwaves, Josh reviews movies weekly in Las Vegas on KTNV Channel 13 and Highway Radio, ...
Cyrano, My Love movie review & film summary (2019)
Cyrano de Bergerac, based, at least loosely, on a real-life nobleman of the 17th century, was brought to theatrical life by the verse playwright Edmond Rostand in the last years of the 19th century, and remains an enduring fiction. The character is a man of ferocious eloquence and great physical courage—rendered somewhat ridiculous by his ...
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Cyrano, My Love
Cyrano, My Love Reviews. In this time of unsettling conflict and interminable hardship, some people may be looking for an escape. Full Review | Original Score: 3.0/5 | Jul 25, 2020. Luckily, it ...
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Reviewed at Telluride Film Festival, Sept. 3, 2021. MPAA Rating: PG-13. Running time: 123 MIN.

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