Ken and Robin Consume Media: Blue Moon, The Secret Agent, Chain Reactions
February 3rd, 2026 | Robin
Ken and Robin Consume Media is brought to you by the discriminating and good-looking backers of the Ken and Robin Talk About Stuff Patreon. Each week we provide capsule reviews of the books, movies, TV seasons and more we cram into our hyper-analytical sensoriums. Join the Patreon to help pick the items we’ll talk about in greater depth on a little podcast segment we like to call Tell Me More.
Recommended
Blue Moon (Film, US, Richard Linklater, 2025) Needy lyricist Lorenz Hart (Ethan Hawke) struggles to keep his insecurities in check at the Sardi’s after-party celebrating the Broadway opening of Oklahoma!, for which his erstwhile partner Richard Rogers (Andrew Scott) replaced him with a new, less brilliant, more reliable collaborator. Contemporary acting’s greatest talker masterfully and movingly holds court as Linklater uses close-ups and movement to alchemize an apparently stagey script into crackling cinema.—RDL
Chain Reactions (Film, US, Alexandre O. Philippe, 2025) Five horror authorities—comedian Patton Oswalt, critic Alexandra Heller-Nicholas, writer Stephen King and filmmakers Takashi Miike and Karyn Kusama—discuss the personal and cultural impact of Tobe Hooper’s convention-shattering Texas Chain Saw Massacre. In a fruitful formal move, Philippe, rather than intersperse the commentary of many talking heads, shapes each interview into its own separate spoken essay.—RDL
Good News (Film, South Korea, Byun Sung-hyun, 2025) When excitable young Red Army Faction hijackers try to divert an outbound Tokyo flight to Pyongyang, an oddball KCIA fixer (Sul Kyung-gu) enlists a straight arrow army air traffic controller (Hong Kyung) in a scheme to land them in the south. Satirical docudrama takes jabs at official opportunism while also bubbling away as a process thriller.—RDL
Left-Handed Girl (Film, Taiwan/US, Shih-Ching Tsou, 2025) A beleaguered noodle stall owner (Janel Tsai) with two daughters, one a headstrong young adult (Shih-Yuan Ma), the other an adorable moppet who has been convinced one of her hands serves the devil (Nina Ye), struggles to get by in Taipei. Brightly digital slice-of-life drama ineluctably builds into a classic explosion of family secrets. Tsou makes her feature debut after acting for many years as producing partner of Sean Baker, who serves here as co-writer and editor.—RDL
The Secret Agent (Film, Brazil/France/Germany/Netherlands, Kleber Mendonça Filho, 2025) A man (Wagner Moura) hiding out in Recife, Brazil, during the military dictatorship tries to keep attention off him long enough to get out of the country with his son. Deliberately told in several narrative modes, including weird urban legend, 70s crime flick, and bald (almost soap-operatic) declamation, this movie depends on Moura’s chameleon, low-key acting for the viewer’s trust. Throughout, Mendonça Filho plays with film and time, layering information slowly, but always communicating the most through his shots. I suspect this will repay multiple viewings.—KH
Till Death Do Us Part (Fiction, John Dickson Carr, 1944) Richard Markham discovers his fiancee is a serial killer, or is she? And if she’s innocent, who killed the man who fingered her, with her own supposed m.o.? (Which is of course a seeming suicide in a locked room.) Carr pulls at least four complete narrative U-turns in this short novel, with Gideon Fell simply outraced rather than out-thought by the killer. A vertiginous tour de force of misdirection, its sheer artificiality of structure almost foreshadows the admittedly contrived solution to the murder.—KH
Good
Short Night of Glass Dolls (Film, Italy/Yugoslavia, Aldo Lado, 1971) American reporter Gregory Moore (Jean Sorel) is found dead in Prague—but he’s actually alive inside his corpse, and trying desperately to remember how he got killed! With a setup like that and Barbara Bach as the mandatory vanished girlfriend, this plays less like a typical giallo and more like a conspiracy thriller, although the stop-and-start pacing mitigates the thrill quotient. I hear the new 4K version cleans up the muddy dialogue dubbing, which would be a distinct improvement.—KH
Swoon (Film, US, Tom Kalin, 1992) Sexually obsessed with uncaring sociopath Richard Loeb (Daniel Schlachet), weak-willed ornithology student Nathan Leopold (Craig Chester) joins him in the thrill murder of a local boy. The first Leopold & Loeb film to foreground the killers’ sexuality (although Compulsion hints at it as strongly as 1959 would allow) suffers from an inevitable lapse in focus after the two are sentenced and separated. Kalin makes a virtue of his scanty budget, weaving artificialities and staginess into his stark black-and-white shots and theatrical performances.—KH
Okay
The Running Man (Film, US, Edgar Wright, 2025) In an authoritarian near future, a screwed-over prole (Glen Powell) agrees to become the target in a deadly reality show run by a slick exec (Josh Brolin.) Satirical action remake is fun when it feels like an Edgar Wright movie, which isn’t often enough. Casting Powell as angry and intense leaves no room for the breezy charm essential to his star power.—RDL
Seeing is Believing (Fiction, John Dickson Carr, 1941) Under hypnosis, and watched by four witnesses, Victoria Fane kills her husband with a dagger that minutes ago was harmless rubber. For once, Henry Merrivale isn’t the worst thing about a ‘Carter Dickson’ novel, although he’s plenty insufferable here. In addition to a fairly unbelievable howdunit, Carr also profoundly cheats in the opening section, ruining the whodunit as well. It’s a shame because the murder setup itself is vastly clever and original, but it’s wasted.—KH
