Review: ‘Sharper’ — a slick, cool thriller that offers a sneakily good time 

Sebastian Stan in ‘Sharper.’ (Apple TV+)
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Updated 23 February 2023
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Review: ‘Sharper’ — a slick, cool thriller that offers a sneakily good time 

  • Apple’s new ensemble drama confirms director Benjamin Caron as one to watch 

LONDON: “Sharper” begins by defining its title as a person who lives by their wits. Google it, however, and the top result you get is a cheating gambler — which acts as more of an introduction to this Apple+ thriller than the rather self-aggrandizing self-definition the movie opts for. 

Directed by Benjamin Caron and boasting a stellar cast, “Sharper” tells the interconnected stories of different characters — from parolee Sandra and mild-mannered bookstore owner Tom, to swindling confidence man Max and his partner-in-crime Madeline. It’s hard to give too much more detail without revealing some of the best storylines, but suffice to say that, once “Sharper” begins to ramp up, it doesn’t slow down, and the movie’s near-two-hour runtime zips past in an enjoyable flash. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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That is mainly down to the film’s talented director and razor-sharp writing by Brian Gatewood and Alessandro Tanaka. Caron’s resume includes “The Crown” and “Sherlock” as well as episodes of the brilliant recent Star Wars show “Andor,” and he’s pulled in a cast able to pull off some complex characters. Briana Middleton and Justice Smith are great as Sandra and Tom, but Sebastian Stan and Julianne Moore are next-level good as Max and Madeline. John Lithgow adds even more gravitas with his brief turn as Richard. His seasoned, cynical billionaire exudes hard-earned wisdom and his eyes twinkle as he spars with Stan’s brash young trickster.  

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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The movie unfolds almost in reverse, as each character’s vignette sheds a little more light on the overall story — save for a final twist that brings everything together.  

Sure, it’s not quite the big reveal that Caron, Gatewood and Tanaka presumably hoped that it would be, but it’s still a decent reversal, and a neat way to tidy up the film’s loose ends. 

“Sharper” is a slick, good-looking movie with a lot going for it. And with a feature-length debut this good, Caron is definitely one worth keeping an eye out for. 


Review: ‘Sorry, Baby’ by Eva Victor

Eva Victor appears in Sorry, Baby by Eva Victor, an official selection of the 2025 Sundance Film Festival. (Supplied)
Updated 27 December 2025
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Review: ‘Sorry, Baby’ by Eva Victor

  • Victor makes a deliberate narrative choice; we never witness the violence of what happens to her character

There is a bravery in “Sorry, Baby” that comes not from what the film shows, but from what it withholds. 

Written, directed by, and starring Eva Victor, it is one of the most talked-about indie films of the year, winning the Waldo Salt Screenwriting Award at Sundance and gathering momentum with nominations, including nods at the Golden Globes and Gotham Awards. 

The film is both incisive and tender in its exploration of trauma, friendship, and the long, winding road toward healing. It follows Agnes, a young professor of literature trying to pick up the pieces after a disturbing incident in grad school. 

Victor makes a deliberate narrative choice; we never witness the violence of what happens to her character. The story centers on Agnes’ perspective in her own words, even as she struggles to name it at various points in the film. 

There is a generosity to Victor’s storytelling and a refusal to reduce the narrative to trauma alone. Instead we witness the breadth of human experience, from heartbreak and loneliness to joy and the sustaining power of friendship. These themes are supported by dialogue and camerawork that incorporates silences and stillness as much as the power of words and movement. 

The film captures the messy, beautiful ways people care for one another. Supporting performances — particularly by “Mickey 17” actor Naomi Ackie who plays the best friend Lydia — and encounters with strangers and a kitten, reinforce the story’s celebration of solidarity and community. 

“Sorry, Baby” reminds us that human resilience is rarely entirely solitary; it is nurtured through acts of care, intimacy and tenderness.

A pivotal scene between Agnes and her friend’s newborn inspires the film’s title. A single, reassuring line gently speaks a pure and simple truth: “I know you’re scared … but you’re OK.” 

It is a reminder that in the end, no matter how dark life gets, it goes on, and so does the human capacity to love.