We’re all familiar with the old adage that, if something seems too good to be true, it probably is. It’s a notion that applies not only to what can happen in everyday life, but also to what shows up on the big screen, as the latest feature from writer-director Sean Baker illustrates. This widely acclaimed indie offering follows the misadventures of a Brooklyn lap dancer/sex worker (Mikey Madison) who falls for the insanely rich, self-absorbed, wildly irresponsible son of a Russian oligarch (Mark Eydelshteyn). Together they take the plunge into an edgy, wacked-out fairy tale, a dark storybook romance strung out on steroids, quaaludes and crack. Their whirlwind affair soon lands them in Las Vegas, culminating in a green card wedding that junior’s mobster parents (Darya Ekamasova, Aleksey Serebryakov) want annulled at any cost, even if it means calling on their oily, bumbling posse of cronies and heavies (Karren Karagulian, Vache Tovmasyan, Yura Borisov) to lean on the alleged lovebirds. But achieving that goal ultimately proves more difficult than imagined. As a cross-country chase ensues, a string of frenzied events leaves mom, dad and friends infuriated and the Gothamite Cinderella disillusioned, having erroneously thought she’d truly hit the jackpot this time. From this, one might easily think this premise has a solid foundation for an outrageous, uproarious comedy, but, sadly, the film lives up to its potential only some of the time. To be sure, there is some genuinely hysterical, wonderfully inventive material here, but it only hits the mark about half the time. What’s more, much of the story (especially in the film’s first half) is predictable, almost clichéd, with some bits dragging on needlessly long. Indeed, I’m somewhat mystified as to what all the critical fuss is about, something perhaps best evidenced by the picture’s capture of the Palme d’Or at this year’s Cannes Film Festival, the event’s highest honor. I readily admit to being a fan of Baker’s work, having immensely enjoyed his previous efforts “Red Rocket” (2021), “The Florida Project” (2017) and “Tangerine” (2015). But I’m genuinely at a loss to understand the level of praise that’s been lavished on this release. It’s a capable film in a number of respects, but the filmmaker clearly has done better, and those prior offerings make better viewing options in my opinion. Don’t fall for all the hype here, as this really is one of those cases of something being too good to be true.

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"Ani" (Mikey Madison) works as a private dancer in New York when she is asked by her boss to go look after some visiting Russians. That's when she encounters the young "Vanya" (Mark Eydelshteyn). He's pretty drunk, completely stoned and has more money than God. He wants a dance, he wants much more - but that's not allowed in the club, so he invites her to his luxury pad next day for fun. She actually quite likes his youthful exuberance - and his cash - and after a few days, a Russian sable coat, and a trip to Vegas, they find themselves marred. Social media now takes an hand and his oligarch mother hears news that her son has married an hooker. Livid, she instructs her local fixer "Toros" (Karren Karagulian) to sort the mess out. He duly sends his two enforcers to the house where all hell promptly breaks loose. "Garnick" (Vache Tovmasyan) and "Tom" (Anton Bitter) are merely to detain the pair until their boss arrives to insist that marriage is going to be annulled; "Ani" is having none of that and "Vanya" - well he's just a little bit conflicted and quickly things start to go pear-shaped! This film starts off strongly with an entertaining courtship scenario played out between two actors who really do look like they are enjoying themselves. Eydelshteyn delivers enthusiastically and acrobatically, there's loads of sex and quite witty dialogue that plays nicely on the language barriers. Once the second phase of the film starts, though, it runs out of steam a little. "Vanya" doesn't feature so much and the story becomes a little less engaging as the rather too gentle thugs and the increasingly irate girl try to get everyone to the courthouse for the ruling before his angry mother arrives. That leaves us with too much overacting from Karagulian and some increasingly implausible scenarios as the air is gradually let out of the thing and it comes to end rather disappointingly. At it's best, though, the first hour is quickly paced and takes an amiable swipe at the sex trade and the players who make and take from it. Certainly worth a watch, it just hasn't quite the courage of it's initial convictions.

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Anora is a film that starts off strong, pulling you in with an intriguing setup and a well-paced first act. It follows a story that keeps you invested, blending drama with some unexpected humor. The second act stretches a bit longer than needed, but it's clear that was intentional to build atmosphere and let certain themes play out. While the pacing is deliberate, it sometimes feels like it's lingering in places that don't add much depth to the characters. That being said, the buildup is engaging, even if the payoff leaves something to be desired. Sean Baker's directing is solid, capturing a raw, almost documentary-like feel that makes the film feel real and immersive. He knows how to make everyday settings feel alive and uses long takes effectively. The cinematography complements this, keeping things grounded with natural lighting and handheld shots that add an almost voyeuristic feel to the story. It’s visually well-crafted, even if it doesn’t aim for anything particularly stylized. The way the camera lingers on certain moments adds weight to the film's themes, even when the script doesn’t fully explore them. Mikey Madison delivers a standout performance, carrying much of the film. She brings a layered energy to the role, making her character feel both confident and vulnerable when needed. The supporting cast does their job well, but the script doesn't give them much depth to work with. That’s one of the film’s weaknesses, while it sets up an interesting premise and characters, it doesn’t fully flesh them out. You get a sense of their motivations, but not much beyond that. The dialogue is sharp in some moments but feels underdeveloped in others, leaving certain interactions feeling a bit hollow. The score and sound design are subtle, used more for atmosphere than standout moments. The film relies heavily on natural sounds and ambient noise, which works well for its grounded approach. It enhances the realism but doesn't do much to elevate the emotions of the film. Overall, Anora is a well-directed and well-acted film that keeps you engaged, but it doesn’t quite stick the landing. If you’re looking for a character-driven story with a raw, unfiltered feel, it’s worth a watch, but don’t expect a big payoff in the end.

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