The Rule of Jenny Pen

Directed by: James Ashcroft

Starring: Geoffrey Rush and John John Lithgow

John Lithgow masterfully embodies the unsettling presence of Dave Crealy, an antagonist who reflects the darker side of aging and vulnerability. The film explores isolation, dementia, elder neglect, abuse, and the shifting power dynamics that come with aging — all themes often overlooked in broader societal narratives.

Society tends to sideline the elderly, valuing youth, beauty, and physicality over wisdom and experience. The Rule of Jenny Pen taps into this quiet form of neglect, setting it within the chilling backdrop of a care facility where the residents are at the mercy of indifferent staff.

Stefan Mortensen (Geoffrey Rush) serves as our central viewpoint, thrust into this unsettling world where Dave Crealy’s antics shock, disgust, and entertain in equal measure. The clash between Stefan and Dave creates a tense psychological game — cleverness versus chaos — made effective by Lithgow’s commitment to the role.

Ashcroft successfully creates a claustrophobic atmosphere, enhanced by dark, grim visuals and a complementary score that heightens the sense of unease. The film thrives on moral ambiguity, with characters you root for even when their actions aren’t entirely justifiable. 

My Dead Friend Zoe

Directed by: Kyle Hausmann-Stokes

Starring: Sonequa Martin-Green, Natalie Morales, and Ed Harris

The tearjerker of the trio, My Dead Friend Zoe doesn’t exactly break new ground in terms of dialogue or writing, though its emotional core will likely resonate deeply with viewers familiar with the realities of military life. What truly elevates the film is the acting. Sonequa Martin-Green and Natalie Morales deliver powerful performances as Merit and Zoe, convincingly portraying the deep bond forged through shared military service.

While many films explore the challenges of re-integrating into society post-service, My Dead Friend Zoe introduces a unique twist by keeping Zoe in the mix — even after her death. Through Merit’s perspective, we also hear from Zoe, allowing her wit and charm to continue shaping Merit’s life. This dual viewpoint provides a layered exploration of grief and memory.

Zoe’s grandfather, Dale (Ed Harris), further deepens the narrative. His military background not only influenced Merit’s decision to enlist but also introduces another perspective on the lifelong impact of service.

Though the dialogue and writing sometimes feel archetypal, the film compensates with phenomenal performances, gut-wrenching emotional beats, and well-executed cinematography. My Dead Friend Zoe ultimately delivers a poignant and topical story about the cyclical nature of grief, PTSD, guilt, and the struggle to reconnect with society after military service.

Opus

Directed by: Mark Anthony Green

Starring: Ayo Edebiri and John Malkovich

Opus may not reinvent the wheel when it comes to cult films, but it soars on the strength of its performances.

John Malkovich delivers a stellar performance as Alfred Moretti, a pop star re-emerging from decades of obscurity. Ayo Edebiri, as journalist Ariel Ecton, holds her ground opposite Malkovich, portraying a driven reporter whose skepticism clashes with the sycophantic atmosphere surrounding Moretti.

Green subtly threads elements of manipulation and control throughout the narrative, leading to a climactic showdown. Ariel stands apart from the other invited journalists, who are quick to excuse Moretti’s bizarre behavior as part of his legendary eccentricity. Her growing suspicion fuels the film’s tension, driving the story toward a satisfying confrontation.

While Opus doesn’t dive deep enough into its commentary on celebrity culture, fandom, and artistic integrity, it still delivers an engaging exploration of these themes. Malkovich’s magnetic performance, paired with sharp visuals and an effective score, carries the film even when the story doesn’t push far enough. The bones are there — it just needs more flesh.