"May-December" (2023) is the kind of movie that sticks with you. It's the film you find yourself thinking about not just in the days after you've seen it, but when you're lost in thought, all by yourself. It has a way of getting under your skin with its unsettling scenes that can catch you off guard.
Even with its dramatic moments that can feel a bit showy, the film bravely addresses a dark and serious issue that really bites into your sense of ease. It's a gutsy contrast to the film's lighter, sometimes playful moments, but it's a contrast that ends up working really well. The storyline cuts close to the bone, touching on painful childhood issues and awakening emotions and memories that many of us might not have even realized we were suppressing.
In terms of performances, it's Charles Melton who unexpectedly steals the show, bringing a depth to his role in a way that's just mesmerizing. Sure, Natalie Portman and Julianne Moore are incredible, but Melton is the one who truly commands your attention. Take the scene where he just listens to Portman's character - the silent story his face tells is powerful.
Melton's acting is heartfelt and sincere; it's the kind of performance that not only draws you in but also touches you deeply. I've cried during many movies, but this one hit me harder. Seeing Melton portray a man with the naive heart of a child, caught in a complicated, uneven love, moved me to tears of genuine sympathy.
Director Todd Haynes navigates through the film's challenging themes with skill, shining a harsh light on the twisted ways of predators with unsettling realism. He approaches a subject that could easily cause a stir, as it pulls from headlines we've all seen, yet he manages to create a film that's as intellectually stimulating as it is captivating, guiding the audience through an emotional journey with the expertise of a master.
What really stays with me, though, is how the film knows when to call it quits. "May-December" has moments where it feels like it's starting to drag, and I was worried it might lose its way. But then it pulls off something remarkable - it ends right when it should. The film wraps up without any unnecessary fuss, leaving a quiet impact that echoes with you. In a world where movies often overstay their welcome, this one feels refreshingly confident and decisively smart.
Even with its dramatic moments that can feel a bit showy, the film bravely addresses a dark and serious issue that really bites into your sense of ease. It's a gutsy contrast to the film's lighter, sometimes playful moments, but it's a contrast that ends up working really well. The storyline cuts close to the bone, touching on painful childhood issues and awakening emotions and memories that many of us might not have even realized we were suppressing.
In terms of performances, it's Charles Melton who unexpectedly steals the show, bringing a depth to his role in a way that's just mesmerizing. Sure, Natalie Portman and Julianne Moore are incredible, but Melton is the one who truly commands your attention. Take the scene where he just listens to Portman's character - the silent story his face tells is powerful.
Melton's acting is heartfelt and sincere; it's the kind of performance that not only draws you in but also touches you deeply. I've cried during many movies, but this one hit me harder. Seeing Melton portray a man with the naive heart of a child, caught in a complicated, uneven love, moved me to tears of genuine sympathy.
Director Todd Haynes navigates through the film's challenging themes with skill, shining a harsh light on the twisted ways of predators with unsettling realism. He approaches a subject that could easily cause a stir, as it pulls from headlines we've all seen, yet he manages to create a film that's as intellectually stimulating as it is captivating, guiding the audience through an emotional journey with the expertise of a master.
What really stays with me, though, is how the film knows when to call it quits. "May-December" has moments where it feels like it's starting to drag, and I was worried it might lose its way. But then it pulls off something remarkable - it ends right when it should. The film wraps up without any unnecessary fuss, leaving a quiet impact that echoes with you. In a world where movies often overstay their welcome, this one feels refreshingly confident and decisively smart.