By Lynn Venhaus

Complicated family ties and honoring Jewish heritage are explored in the heartfelt “A Real Pain.” With its strong emotional pull as two once-close cousins reconnect, the comedy-drama is often amusing but also tinged with melancholy. After all, it is a Holocaust tour, and a reverent one at that.

A Real Pain” follows mismatched first cousins David (Jesse Eisenberg) and Benji (Kieran Culkin) who reunite for a tour through Poland to honor their beloved grandmother. The adventure takes a turn when the odd couple’s old tensions resurface against the backdrop of their family history.

Following the adage ‘write what you know,’ writer-director Jesse Eisenberg brings an appealing earnestness to his labor of love. When the cousins visit their grandmother’s home in Poland, this location is actually where Eisenberg’s real-life ancestors settled in diaspora.

In his second directorial effort, Eisenberg is in his acting comfort zone as an uptight worrywart who is a responsible, dedicated family man. (His real-life son Banner is seen briefly as David’s little boy Abe.)

He reveals a remarkable knack for storytelling, and his deft direction makes for a lean 90-minute odyssey where the pair discover themselves and move forward with far more understanding.

Eisenberg, who came to prominence in “The Squid and the Whale,” earned an Oscar nomination as Mark Zuckerberg in “The Social Network,” and has amassed a varied range of roles, including “Zombieland,” “Now You See Me,” “Rio,” two Woody Allen movies, and one of my favorites “The End of the Tour.”

He has terrific chemistry with scene-stealer Kieran Culkin as his free-spirited chatty first cousin who seemingly breezes through life as a carefree adult unencumbered by responsibilities.  In first impressions, he’s fun, funny and rarely uses a filter in conversations, making friends easily.

Culkin’s moving, multi-layered performance as the adrift man-child Benji may just earn him an Oscar nomination for Best Supporting Actor, and for sure he’ll be on the shortlists for other year-end awards consideration. Emmy winner for his role as Roman Roy on HBO’s “Succession,” Culkin’s verbal dexterity and his natural mannerisms are effortless in creating a relatable Benji as someone you know.

Growing up, the boys were very close, as their dads were brothers. But through the years and with different lifestyles, they grew apart. This trip to honor their grandmother, a Holocaust survivor, is an opportunity to renew their bond. As the journey progresses, they have their ups and downs. Benji is more troubled than at first glance, and David’s persnickety nature can be annoying.

Because they are traveling in a group, their behavior affects others. Their fellow travelers include a nearly unrecognizable Jennifer Grey as a newly divorced woman Marcia, Kurt Egiywan as Eloge, who escaped a genocide in his Rwanda homeland, and Liza Sadovy and Daniel Oreskes as a married couple, Mark and Diane.

The efficient tour guide James, played by an affable Will Sharpe, is criticized by Benji for not connecting enough to the people in the towns they visit, instead of just regurgitating facts.

The film’s power is disarming, for it packs an emotional wallop, especially in exploring the Holocaust aftermath, the Majdanek concentration camp, and the effect of loss and grief on Benji.

Eisenberg’s nimble narrative brings up the pair’s old misunderstandings and resentments as they bicker, but they have one thing in common: love for their grandmother, and that resonates. We do get a finely drawn, compelling portrait of these individuals.

They remember the family love fostered, and do care for each other, which is obvious when David worries about Benji being lonely.

A breakout hit at the Sundance Film Festival, “A Real Pain” was nominated for the Grand Jury Prize and Eisenberg won the Waldo Salt Screenwriting Award. He also won the Humor and Humanity Award at the Heartland Film Festival and Culkin is a nominee for a Gotham Independent Film Award. This isn’t going to be the end of their awards journey.

The cinematography by Michael Dymak subtly makes statements, while the editing by Robert Nassau makes the story flow well.

Warm and genuine, “A Real Pain” is that rare film that intimately speaks to us so eloquently, yet is universal in intentions, thus making a lasting impression.

“A Real Pain” is a 2024 comedy-drama written and directed by Jesse Eisenberg and starring Jesse Eisenberg, Kieran Culkin, Jennifer Grey, Will Sharpe, Liza Sadosky, Daniel Oreskes and Kurt Egiywan. It is Rated R for language throughout and some drug use, and its runtime is 90 minutes. It opened in local theatres Nov. 15 and was the opening night film at the St. Louis International Film Festival. Lynn’s Grade: A.

By Alex McPherson

“Zack Snyder’s Justice League” is an entertaining, four-hour superhero epic that greatly improves on Joss Whedon’s 2017 version. After leaving the first production due to a family tragedy, director Snyder is finally able to give fans what they’ve been craving. 

Batman (Ben Affleck), Wonder Woman (Gal Gadot), Aquaman (Jason Momoa), The Flash (Ezra Miller), Cyborg (Ray Fisher), and another familiar face team up to take down a world-ending threat. This time, a horned monstrosity named Steppenwolf (Ciaran Hinds) seeks to eliminate humanity from Planet Earth via three powerful “Mother Boxes” and rebuild it under the leadership of Darkseid (Ray Porter), who wants to control the galaxy. Feeling partly responsible for the death of Superman (Henry Cavill) in “Batman V. Superman: Dawn of Justice,” Batman becomes a reluctant leader as he and Wonder Woman bring the squad together. Heroes both new and old undergo their own arcs, to varying degrees — involving the topics of grief, faith, hope, and unity in times of crisis.

Aiming to please those who willed it into existence, “Zack Snyder’s Justice League” is difficult to recommend to viewers who aren’t already fans of the DC Cinematic Universe. The film contains moments of emotional resonance and visual spectacle, but proves grueling by the final hour — reverting to predictable plotting and repetitive, CGI-reliant action sequences.

At least the central characters are given more opportunities to shine. From its opening frames, “Zack Snyder’s Justice League” establishes itself as a slower, mournful affair, with a 4:3 aspect ratio, dour chapter titles, muted color palette, and a clearer sense of organization. Snyder has crafted an unarguably more coherent storyline than before, maintaining a grittier tone than the original cut and giving scenes more time to breathe. Even though the storytelling itself is clunky, largely thanks to hit-or-miss dialogue and frequent exposition dumps, I appreciate Snyder’s ambition. 

The added depth to Cyborg (a.k.a Victor Stone) is particularly noteworthy. After Victor and his mother are killed in a car crash, his father, Silas Stone (Joe Morton) uses a Mother Box to resurrect Victor in a robotic body. Thanks to his new abilities, Victor becomes an all-powerful presence, able to tap into the world’s technological web with ease, and representing the League’s key to vanquishing Steppenwolf. Despite his powers, Cyborg is gripped with resentment towards his father and deeply uncertain of his own future. Fisher’s acting is endearing and empathetic, the most convincing in the entire film. His character  — practically deserving of its own standalone installment — remains the heart and soul of the whole endeavour. 

The Flash (a.k.a. Barry Allen) is also further fleshed out, but his journey lacks the nuance and complexity of Cyborg’s. He is much more confident in his speedy capabilities and doesn’t spout as many cringey quips as in the 2017 iteration. Batman, Aquaman, and Wonder Woman, on the other hand, aren’t given much new material to work with under Snyder’s guidance, but we’re given more context for their actions. This helps create a stronger sense of flow from scene to scene than before, and all the actors give decent performances.

In terms of antagonists, Steppenwolf’s goals are more clearly outlined. Exiled from his demonic homeworld, he’s trying to prove himself to his master, Darkseid. Even though we understand where he’s coming from, Steppenwolf is still difficult to empathize with. Revealing more about his history doesn’t automatically fix his blandness or render him memorable. He’s big, powerful, odd-looking, and ready to slice and dice his way to victory.

Speaking of violence, “Zack Snyder’s Justice League” is rated R, allowing Snyder to indulge in bloody carnage that feels far more visceral than other cinematic comic book offerings. As expected, however, Snyder deploys an over-abundance of slow motion to present every shot as a work of art to be gawked at. Yes, there’s instances of beauty in his eye-popping, effects-heavy compositions, but they lose their thrill as the hours pile up.

Combined with an unnecessary epilogue that’s purely fan service, “Zack Snyder’s Justice League” doesn’t quite justify its existence for casual moviegoers. Nevertheless, I wholeheartedly support Snyder’s efforts to realize his vision. That being said, four hours is a huge time commitment, especially when viewed in a single sitting, and his film doesn’t differentiate itself enough to truly stand out.

A self-serious, over-indulgent, yet admirable effort, “Zack Snyder’s Justice League” isn’t the masterpiece that some have touted it as, but it proves sporadically enjoyable. I just needed a long nap afterwards.

“Zack Snyder’s Justice League” is a 2021 release from Warner Brothers that is exclusively showing on HBOMax, as of March 18. It stars Ben Affleck, Gal Gadot, Jason Momoa, Henry Cavill, Ray Fisher and Ezra Miller as the six superheroes in the DC Justice League. is Rated R for violence and some language. It has a run time of 242 minutes. Alex’s Grade: B –