I’d better not go on too much about the beloved 1973 film of Freddie Forsyth’s novel The Day of the Jackal. But I will say Eddie Redmayne is no Edward Fox. In his designer togs – a little bit Burberry, a little bit Jil Sander – he’s quite the international traveller, even if his wheelie suitcase hides a custom-made shooter (the people at Rimowa haven’t seen anything like this). But I don’t buy him as an assassin (codename: the Jackal).
Even as he stares unblinkingly at his target – preposterously, he can kill from a distance of 3,815m – he brings to mind not the hitman of paperback legend but a guy with far too many pairs of sunglasses whose cashmere habit is seriously out of control. My dear, the dry cleaning. How one worries (splat!) about those pristine white corduroys.
Sky Atlantic’s new ten-part series (screenplay by Ronan Bennett) updates the yarn for 21st-century sensibilities with varying degrees of success. It’s at its most successful (ie, exciting) when it’s determinedly old-fashioned: here are cunning disguises, extended car chases and ingenious bits of kit. But when it tries to be modern (ie, touchy-feely), the tension evaporates. While I approve wholeheartedly of ruthless Bianca from MI6 (Loshana Lynch), who hopes to catch our elusive assassin and doesn’t give a toss who dies in the process, giving her prey a home life is a big mistake.
Sociopathic professional killers cannot, and should not, be humanised. I don’t care to see the Jackal dandle his baby son, or get it on with his pouting Spanish wife (Ursula Corbero). I want him to streak smoothly and heedlessly through the world with only a forged passport, some ammo and a couple of wigs for company. Let him be dead inside, not FaceTiming his mother-in-law in Cadiz.
As for his targets: hit one is a far-right German politician, the invoice for which he sent from a Paris internet cafe immediately after the business was concluded (as a freelancer myself, I applaud the efficiency). His next hit is a tech wiz, Ulle Dag Charles (Khalid Abdalla), who plans to give the world “total economic justice”, which sounds miles better than anything in Rachel Reeves’ Budget – and doubtless is, given that his paymaster in this case is Timothy Winthrop (Charles Dance), a posh bloke whose architectural spectacles all but shout a word beginning with W. For UDC’s untimely end, incidentally, the Jackal will receive “superlative remuneration”, which could mean that Brunello Cucinelli is in for a bumper order some time quite soon.
Bennett’s dialogue is old school: comically so, at times. When Bianca heads to eastern Europe, her MI6 contact says: “The Latvians are friendly, but Belarus is very hostile.” (Eat your heart out, Steve Rosenberg.) I find myself surprisingly keen on all the talk of assets. But still, the feeling grows that this is more lifestyle show than thriller. Collectible chess sets, butter-coloured Porsches, a pea coat cut just right… Other chaps have sheds, but the Jackal has a secret room in which he keeps his stick-on eyebrows and coloured contact lenses in perfect order. His cheekbones shine as if slicked with Elizabeth Arden’s Eight Hour Cream.
Is there jeopardy enough to keep us watching? Sky has made the first five episodes available for bingeing, but I had to take a break after three. The film was meticulously constructed to bypass sluggishness: it lasts two and half hours, and they pass, as the critic Roger Ebert said, in what feels like 15 minutes. This version is more than ten hours long; even at its most pacy, you’re always aware it has been stretched to fit the inexhaustible demands of streaming.
But I will go back to it. Redmayne is strangely fascinating to watch: compelling in disguise, especially when bald (the liver spots are as big as Lake Geneva), but like some hollowed-out private equity dude most of the rest of the time. As an actor, he exhibits some serious prop-love in this show – though you can’t blame him for it. I mean, the equipment! Honestly, you should see the size of his telescopic lens.
I’d better not go on too much about the beloved 1973 film of Freddie Forsyth’s novel The Day of the Jackal. But I will say Eddie Redmayne is no Edward Fox. In his designer togs – a little bit Burberry, a little bit Jil Sander – he’s quite the international traveller, even if his wheelie suitcase hides a custom-made shooter (the people at Rimowa haven’t seen anything like this). But I don’t buy him as an assassin (codename: the Jackal).
Even as he stares unblinkingly at his target – preposterously, he can kill from a distance of 3,815m – he brings to mind not the hitman of paperback legend but a guy with far too many pairs of sunglasses whose cashmere habit is seriously out of control. My dear, the dry cleaning. How one worries (splat!) about those pristine white corduroys.
Sky Atlantic’s new ten-part series (screenplay by Ronan Bennett) updates the yarn for 21st-century sensibilities with varying degrees of success. It’s at its most successful (ie, exciting) when it’s determinedly old-fashioned: here are cunning disguises, extended car chases and ingenious bits of kit. But when it tries to be modern (ie, touchy-feely), the tension evaporates. While I approve wholeheartedly of ruthless Bianca from MI6 (Loshana Lynch), who hopes to catch our elusive assassin and doesn’t give a toss who dies in the process, giving her prey a home life is a big mistake.
Sociopathic professional killers cannot, and should not, be humanised. I don’t care to see the Jackal dandle his baby son, or get it on with his pouting Spanish wife (Ursula Corbero). I want him to streak smoothly and heedlessly through the world with only a forged passport, some ammo and a couple of wigs for company. Let him be dead inside, not FaceTiming his mother-in-law in Cadiz.
As for his targets: hit one is a far-right German politician, the invoice for which he sent from a Paris internet cafe immediately after the business was concluded (as a freelancer myself, I applaud the efficiency). His next hit is a tech wiz, Ulle Dag Charles (Khalid Abdalla), who plans to give the world “total economic justice”, which sounds miles better than anything in Rachel Reeves’ Budget – and doubtless is, given that his paymaster in this case is Timothy Winthrop (Charles Dance), a posh bloke whose architectural spectacles all but shout a word beginning with W. For UDC’s untimely end, incidentally, the Jackal will receive “superlative remuneration”, which could mean that Brunello Cucinelli is in for a bumper order some time quite soon.
Bennett’s dialogue is old school: comically so, at times. When Bianca heads to eastern Europe, her MI6 contact says: “The Latvians are friendly, but Belarus is very hostile.” (Eat your heart out, Steve Rosenberg.) I find myself surprisingly keen on all the talk of assets. But still, the feeling grows that this is more lifestyle show than thriller. Collectible chess sets, butter-coloured Porsches, a pea coat cut just right… Other chaps have sheds, but the Jackal has a secret room in which he keeps his stick-on eyebrows and coloured contact lenses in perfect order. His cheekbones shine as if slicked with Elizabeth Arden’s Eight Hour Cream.
Is there jeopardy enough to keep us watching? Sky has made the first five episodes available for bingeing, but I had to take a break after three. The film was meticulously constructed to bypass sluggishness: it lasts two and half hours, and they pass, as the critic Roger Ebert said, in what feels like 15 minutes. This version is more than ten hours long; even at its most pacy, you’re always aware it has been stretched to fit the inexhaustible demands of streaming.
But I will go back to it. Redmayne is strangely fascinating to watch: compelling in disguise, especially when bald (the liver spots are as big as Lake Geneva), but like some hollowed-out private equity dude most of the rest of the time. As an actor, he exhibits some serious prop-love in this show – though you can’t blame him for it. I mean, the equipment! Honestly, you should see the size of his telescopic lens.
RUSSELL — Caden Mincer’s 5-yard touchdown run in overtime lifted Franklin to a 40-34 come-from-behind football victory over Eisenhower on Friday night.
Franklin trailed 34-20 early in the fourth quarter, but Mincer scored from a yard out with 4:23 remaining to trim the deficit to 34-26.
The visitors were just getting started.
On its ensuing possession, Eisenhower fumbled and Mincer returned it 26 yards for a touchdown. The two-point conversion try was fumbled, but Eisnhower recovered it in the end zone to tie the game 34-34 with 1:53 left in regulation.
In the extra session, Eisenhower was stopped on fourth-and-goal from the 6, turning the ball over to Franklin, which then ended the game on Mincer’s 5-yard TD.
Eisenhower was in control early, opening a 14-0 lead, courtesy of a 50-yard punt return by Caleb Jakubczak and his 8-yard TD pass to Tanner Lookenhouse. Bryceton Wilkins connected on both point-after kicks.
Franklin scored the next two touchdowns, a Freddie Blackhurst 1-yard run and Mincer’s 25-yard burst, and Connor Ritchey connected on both PATs to tie the game 14-all. Eisenhower immediately regained the lead 21-14 when Jakubcak found Lookenhouse on a 33-yard TD pass. Wilkins’ point-after try was good.
Mincer’s 4-yard touchdown run on Franklin’s first possession of the second half pulled it within a point, but the PAT was no good and Eisenhower led 21-20 with 9:56 remaining in the third quarter.
Nolan Gesing’s 10-yard TD burst pushed Eisenhower’s lead to 27-20 and, after a Franklin turnover, Jakubczak raced 63 yards for the score. Wilkins’ extra point kick was good, giving Eisenhower a 34-20 lead 13 seconds into the final period.
That set the stage for a frantic final 11-plus minutes of regulation and into overtime.
NOTE: Jakubczak rushed for 115 yards on 10 carries and passed for 104 yards, accounting for three touchdowns for Eisenhower. … Jacob Penley added 108 rushing yards on 17 carries and Lookenhouse added two TD receptions. … Mincer led Franklin with 135 yards on 21 carries and four touchdowns, while Blackhurst added 64 yards on 18 carries.
RUSSELL — Caden Mincer’s 5-yard touchdown run in overtime lifted Franklin to a 40-34 come-from-behind football …
Summit High School senior Simeon Ryan looks down the field for an open receiver during the Tigers’ homecoming game against Steamboat Springs on Friday, Sept. 27, 2024. Summit defeated Steamboat Springs, 22-21. Cody Jones/Summit Daily News
The homecoming crowd at Climax Molybdenum Field at Tiger Stadium on Friday night, Sept. 27, wanted a show as the Summit football team took on Steamboat Springs High School. After a slower moving first half, the game truly picked up speed for the Tigers in the second, giving way to a homecoming thriller and sending the crowd into a frenzy.
The 1-2 Tigers began the game by kicking to the undefeated Steamboat Springs Sailors. Steamboat Springs picked up several first downs on its opening drive, going for it on fourth-down and one to move the chains for the first time.The Sailors then aired the ball out down the field, pushing the ball into the red zone with a completion. From inside the five-yard line, junior Thomas Krupp then swung wide to the right and into the end zone for the rushing touchdown.
Starting its first drive from its own 20-yard line, Summit kept the ball on the ground on the first two plays before attempting to pass the ball on third down. Facing fourth down and nine, Summit punted the ball back to Steamboat Springs, resulting in a muffed return which was recovered by Summit.
On Steamboat Spring’s side of the 50-yard line, senior quarterback Simeon Ryan attempted another pass play. Ryan threw the ball to a partially-open receiver who was not able to bring the ball in, but a Steamboat Springs’ defender was flagged for pass interference.
Following the penalty, Ryan and senior Dylan Gonsholt marched the Tigers into the red zone with several powerful run plays. On first and goal from the two-yard line, senior Vander Waerlop rolled into the end zone to tie the game at 7-7 with around three minutes remaining in the first quarter.
Steamboat Springs made quick work of the field, putting together a long pass play before Krupp broke free of the Summit defense and into the end zone for a second time. Summit tried to match Steamboat Springs with a touchdown of its own, but the drive stalled near midfield and resulted in a turnover on downs.
Krupp continued to be a problem for the Summit defense, glancing off tackles and picking up a huge carry to bring the ball within the Tigers’ 40-yard line.Summit then came up with a series of huge stops to force a fourth down and two. The Steamboat Springs offense stayed on the field again and handed the ball to Krupp who was wrapped up short of the first-down marker.
Wanting to even the score before halftime, Summit charged down the field with Ryan finding Gonsholt for a successfully completed pass.Around midfield Summit attempted to catch Steamboat Springs off guard with a wide-receiver motion play, but the ball was fumbled and eventually recovered by the Sailors.
With limited time left in the half, Steamboat Springs produced a rollicking drive which resulted in a passing touchdown from the arm of junior Tanner Cobb.Steamboat Springs led 21-7 at halftime.
Summit High School’s Dylan Gonsholt, left, celebrates with Jagger Roberts after Gonsholt intercepted the ball from Steamboat Springs on Friday, Sept. 27, 2024.Cody Jones/Summit Daily News
Summit took the field for the start of the third quarter and attempted to cut into the two-touchdown deficit. Summit picked up a penalty to push the team back eight-yards behind the line of scrimmage before Ryan threw an interception on a long-pass attempt.
The turnover did not dampen the spirits of Summit’s defense as a few moments later, the Tiger offense was back on the field due to a Gonsholt interception.The next Summit drive was fruitless as the team picked up two penalties that pushed the team deep into its own territory.
The Tigers punted the ball to the Sailors who began a new drive from their own 30-yard line. Following the interception, Steamboat Springs redeemed itself on offense, stringing together a mix of running and passing plays to push the ball over the 50-yard line.
Not wanting to give up a touchdown the Summit defense clamped down, halting Steamboat Springs and forcing a fourth down and five. Deciding to go for it, Cobb scanned to his right for an open receiver and threw the ball into the open hands of the stalking Gonsholt.
Gonsholt broke down the field, well past a trailing Cobb for the pick-six interception. With a successful 2-point conversion pass from Ryan, life was injected into the Summit sideline as the team now trailed 21-15.
With the momentum starting to build, the Summit defense came up big again. This time, senior Alejandro Baray-Jain picked off a ball that bounced off a Steamboat Springs’ player.
The Summit offense returned to the field with the entire stadium behind the team. After struggling to pick up yards since the first quarter, Waerlop broke through a tackle and brought the ball into the red zone for the Tigers.
Summit continued to churn down the field with Ryan setting the team up with a first and goal from the six-yard line. The Tigers tried to punch the ball into the end zone, but was stopped short, three times. On fourth down from the five-yard line, Ryan passed the ball to senior Quinn Breigenzer in the corner of the end zone who caught the ball, but was ruled out of bounds by the officials.
Wanting to put Summit away, Krupp exploded from the backfield and picked up 26-yards on the ground. The Sailors picked up another first down to push the ball to their own 42-yard line while draining valuable time off the clock.
Krupp continued to eat up yardage, bringing the ball within Summit’s own 40-yard line before Gonsholt extended backwards to come down with his third interception and give Summit a fighting chance to win the game.
With a little over a minute remaining in regulation, Ryan found Gonsholt in open space to pick up a few yards after a series of Summit penalties. Ryan aired the ball out again on the next snap. The pass bounced off a Steamboat Springs’ defender before falling into the hands of Breigenzer who sprinted all the way to the end zone for the touchdown.
Summit took the 22-21 lead, leaving Steamboat Springs 35 seconds to win the game.
With Climax Molybdenum Field at Tiger Stadium rumbling with noise, Cobb was hit hard in the backfield causing the ball to be jarred loose. The ball was recovered by Steamboat Springs, forcing third down and 27.
Steamboat Springs picked up 26-yards with a trick pass play, giving way to a fourth down and one from Summit’s 46-yard line. With the game on the line, Gonsholt swatted the ball out of the air to seal the game for good. Summit defeated Steamboat Springs, 22-21.
“We just restarted in the second half,” Gonsholt said. “We knew we had to do something else. It was not working. We had a lot of hard talk in there, we came out and we were better. We stayed to our assignments and the scoreboard tells you the rest. At the end of the day, we wanted it more. We showed some heart and we sunk that boat.”
Handing Steamboat Springs its first loss of the season, Summit advances to 2-2 on the season. Summit will face Palisade High School in Breckenridge on Thursday, Oct. 3, at 6 p.m. Palisade is 3-2 overall on the after beating Grand Junction Central High School on Friday night.
The Summit High School football team tries to prevent Steamboat Springs from gaining a first down during the Tigers’ homecoming game on Friday. Cody Jones/Summit Daily News
Summit senior Vander Waerlop lunges to make the tackle during the Tigers’ homecoming game on Friday, Sept. 27, 2024. Cody Jones/Summit Daily News
A group of Summit defenders work to pull down Steamboat Springs junior Luke Jordan during the Tigers’ homecoming game on Friday, Sept. 27, 2024. Cody Jones/Summit Daily News
The Summit High School student section cheers on the Tigers’ football team during the homecoming game on Friday, Sept. 27, 2024. Cody Jones/Summit Daily News
Summit High School quarterback Simeon Ryan prepares to snap the ball while Connor Erwin waits in the backfield. Cody Jones/Summit Daily News
Steamboat Springs’ Tanner Cobb receives the snap during Summit’s homecoming game on Friday, Sept. 27, 2024. Cody Jones/Summit Daily News
The Summit High School football team lines up for a play in the red zone during its homecoming game on Friday, Sept. 27, 2024. Cody Jones/Summit Daily News
Steamboat Springs kicks the ball off to the Summit High School football team on Friday, Sept. 27, 2024. Cody Jones/Summit Daily News
Summit High School senior Simeon Ryan looks down the field for an open receiver during the Tigers’ homecoming game against Steamboat Springs on Friday, Sept. 27, 2024. Summit defeated Steamboat Springs, 22-21. Cody Jones/Summit Daily News
Summit High School’s Dylan Gonsholt, left, celebrates with Jagger Roberts after Gonsholt intercepted the ball from Steamboat Springs on Friday, Sept. 27, 2024. Cody Jones/Summit Daily News
So often across cinematic history has it been proven that fact is stranger than fiction, and in the case of Ron Howard‘s Eden, the crazier humanity proves themselves to be, the more seeped in reality their stories are.
And it’s what makes Eden – arguably Howard’s most exciting project in over a decade – all the more disturbing and fascinating, that what unfolds on screen depicts the actions of what humans are capable of. Offsetting the film’s island paradise locale and aesthetically pleasing ensemble with a grotesque nature to both, Howard is clearly conscious of the fact that no matter how perfect something – or someone – looks, a darkness so often can linger underneath, and Eden, in spite of its namesake, drives this home with a psychologically torturous mentality.
Set in 1929 in the devastating aftermath of World War I, Dr. Friedrich Ritter (Jude Law) and his wife, Dora Strauch (Vanessa Kirby), flee their native Germany in a bid to reject the materialistic nature they believe is corroding the potential of mankind. Setting up their minimalistic lifestyle in the Galápagos archipelago, Friedrich plans to utilise his isolation by writing his manifesto – one that he sees as being a starting point for mankind’s survival – whilst Dora resolves to cure her multiple sclerosis through meditation.
Though their intent is to live out the rest of their days free from the prying eyes and opinions of the now-outside world, Friedrich has penned a series of letters about his newfound existence that have made their way to a variety of national newspapers thanks to passing ships. Friedrich and Dora’s lifestyle, as well as the island’s very existence, starts to gain a fanbase, and it isn’t long before their solitude is disrupted.
First arrives Heinz and Margaret Wittmer (DanielBrühl and Sydney Sweeney). The growing financial strain of surviving in Germany, the political turmoil of their city, and their son’s tuberculosis all play a part in their intended plan to start anew on the island. Whilst they arrive with the purest of intentions, Friedrich and Dora don’t take kindly to their presence, believing this family is something of a threat; no longer will their island paradise be solitary and, amongst other things, their resources will have to be divided. Taking a more subtle, psychological approach to the situation, Friedrich – after expressing his dominance by greeting the Wittmers totally nude (so, yes, there is a gander at Jude’s law, so to speak) – suggests the family set up camp near a selection of caves, knowing all too well that the water shortage there will hinder their ability to grow crops. The Wittmers prove more resourceful than expected and, to much surprise, they carve out something of a life there, taming nature in the process in manners Friedrich had never envisioned.
The island’s final arrival is where the established power dynamic is truly shifted however. Swanning about with the type of materialistic mentality that both the Ritters and the Wittmers have rejected, Eloise Bosquet de Wagner Wehrhorn (Ana de Armas, undoubtedly the film’s greatest asset), a self-described Baroness and “the embodiment of perfection”, announces she in fact owns considerable acreage there and with her “Hotel Paradiso” intends to build an expansive resort, turning the idyllic peninsula into a tourist hotspot. Already expressing her cunning nature by shifting her attention between the two gentleman that assist her (Toby Wallace and Felix Kammerer), Eloise quickly starts to play Friedrich and Heinz against each other, leading the island into chaos and forcing a sense of jealousy and greed to emerge.
Whilst Eden does submit to its narrative darkness across its 129 minutes, Noah Pink‘s script continually maintains an entertaining sense of self, with much of the film owing its engrossment to that of de Armas. A role that showcases the greatest range for the actress yet, de Armas easily balances her character’s camp-like nature with a sinister underbelly, and she proves the perfect equilibrium against Sweeney’s more grounded turn and Kirby’s steely resolve. Brühl and Law are equally as good, both embodying their characters with a sense of theatrical authenticity, but Eden belongs to its female players, and if the collective voters had the right sense they’d be unanimous in voting de Armas as a supporting actress frontrunner come award season.
Much like how he created an engaging slice of cinema from the true story of the Tham Luang cave rescue with 2022’s Thirteen Lives, Howard similarly takes hold of this story’s rooted-in-certitude base and arranges it to both see fit as a provocative piece of work and a true story worth uncovering.
FOUR STARS (OUT OF FIVE)
Eden screened as part of this year’s Toronto International Film Festival, which ran between September 5th and 15th, 2024. For more information about the festival, head to the official site here.
So often across cinematic history has it been proven that fact is stranger than fiction, and in the case of Ron Howard‘s Eden, the crazier humanity proves themselves to be, the more seeped in reality their stories are.
And it’s what makes Eden – arguably Howard’s most exciting project in over a decade – all the more disturbing and fascinating, that what unfolds on screen depicts the actions of what humans are capable of. Offsetting the film’s island paradise locale and aesthetically pleasing ensemble with a grotesque nature to both, Howard is clearly conscious of the fact that no matter how perfect something – or someone – looks, a darkness so often can linger underneath, and Eden, in spite of its namesake, drives this home with a psychologically torturous mentality.
Set in 1929 in the devastating aftermath of World War I, Dr. Friedrich Ritter (Jude Law) and his wife, Dora Strauch (Vanessa Kirby), flee their native Germany in a bid to reject the materialistic nature they believe is corroding the potential of mankind. Setting up their minimalistic lifestyle in the Galápagos archipelago, Friedrich plans to utilise his isolation by writing his manifesto – one that he sees as being a starting point for mankind’s survival – whilst Dora resolves to cure her multiple sclerosis through meditation.
Though their intent is to live out the rest of their days free from the prying eyes and opinions of the now-outside world, Friedrich has penned a series of letters about his newfound existence that have made their way to a variety of national newspapers thanks to passing ships. Friedrich and Dora’s lifestyle, as well as the island’s very existence, starts to gain a fanbase, and it isn’t long before their solitude is disrupted.
First arrives Heinz and Margaret Wittmer (DanielBrühl and Sydney Sweeney). The growing financial strain of surviving in Germany, the political turmoil of their city, and their son’s tuberculosis all play a part in their intended plan to start anew on the island. Whilst they arrive with the purest of intentions, Friedrich and Dora don’t take kindly to their presence, believing this family is something of a threat; no longer will their island paradise be solitary and, amongst other things, their resources will have to be divided. Taking a more subtle, psychological approach to the situation, Friedrich – after expressing his dominance by greeting the Wittmers totally nude (so, yes, there is a gander at Jude’s law, so to speak) – suggests the family set up camp near a selection of caves, knowing all too well that the water shortage there will hinder their ability to grow crops. The Wittmers prove more resourceful than expected and, to much surprise, they carve out something of a life there, taming nature in the process in manners Friedrich had never envisioned.
The island’s final arrival is where the established power dynamic is truly shifted however. Swanning about with the type of materialistic mentality that both the Ritters and the Wittmers have rejected, Eloise Bosquet de Wagner Wehrhorn (Ana de Armas, undoubtedly the film’s greatest asset), a self-described Baroness and “the embodiment of perfection”, announces she in fact owns considerable acreage there and with her “Hotel Paradiso” intends to build an expansive resort, turning the idyllic peninsula into a tourist hotspot. Already expressing her cunning nature by shifting her attention between the two gentleman that assist her (Toby Wallace and Felix Kammerer), Eloise quickly starts to play Friedrich and Heinz against each other, leading the island into chaos and forcing a sense of jealousy and greed to emerge.
Whilst Eden does submit to its narrative darkness across its 129 minutes, Noah Pink‘s script continually maintains an entertaining sense of self, with much of the film owing its engrossment to that of de Armas. A role that showcases the greatest range for the actress yet, de Armas easily balances her character’s camp-like nature with a sinister underbelly, and she proves the perfect equilibrium against Sweeney’s more grounded turn and Kirby’s steely resolve. Brühl and Law are equally as good, both embodying their characters with a sense of theatrical authenticity, but Eden belongs to its female players, and if the collective voters had the right sense they’d be unanimous in voting de Armas as a supporting actress frontrunner come award season.
Much like how he created an engaging slice of cinema from the true story of the Tham Luang cave rescue with 2022’s Thirteen Lives, Howard similarly takes hold of this story’s rooted-in-certitude base and arranges it to both see fit as a provocative piece of work and a true story worth uncovering.
FOUR STARS (OUT OF FIVE)
Eden screened as part of this year’s Toronto International Film Festival, which ran between September 5th and 15th, 2024. For more information about the festival, head to the official site here.
