Elijah Bynum’s “Magazine Dreams” is a neo-noir psychological thriller that stars Jonathan Majors and Mike O’Hearn. The film runs at just over two hours and has you on edge from start to finish as you watch the protagonist’s mind unravel over the course of the movie. It touches on themes like depression, self-worth, class, race and more in the plot.
The film, which was originally screened in 2023 at the Sundance film festival, has been met with mixed reviews since its release on March 21 of this year. With a 3.6 average on Letterboxd, 6.9 on IMDB and 80% Certified Fresh on Rotten Tomatoes, “Magazine Dreams” is a fantastic project that flew under most people’s radar.
Majors’ performance is far and away the best thing about this film. His rendition of poverty-stricken and mentally ill body builder Killian Maddox invokes pity, anger, sadness and elation from the audience while also lightly touching on the social issues that led him to this point.
After a murder-suicide robs him of his parents as young boy, Maddox lives with and cares for his elderly Vietnam-veteran grandfather. Psyche broken and confidence shattered, Maddox pumps himself full of steroids, cocaine and more as he attempts to live his dream of being on the cover of a bodybuilding magazine.
The film opens with Killian Maddox working through his poses on stage in front of an unseen crowd or panel of judges. It then cuts to Maddox caring for his grandfather while a voice-over of Maddox’s court-assigned counselor speaks the first lines of dialogue in the film: “The state has mandated these sessions because they’re worried about your aggression. They want to see that you won’t cause harm to anyone.”
These lines echo throughout the film and represent Maddox’s struggles. His aggression and anger further dilute the kind and determined person that Maddox aims to be, while also hinting at his self-worth.
The plot is mostly driven by voice-over narration from Maddox as he writes fan mail to his personal hero and inspiration Brad Vanderhorn. His desperation for human connection bleeds into and becomes synonymous with his pleas to Vanderhorn to at least acknowledge his calls and letters.
The cinematography and lighting are excellent throughout the film. Cinematographer Adam Arkapaw blends a neo-noir style with expressionist coloring and creates a beautiful color tapestry that weaves itself perfectly into every scene.
The film does not come without its struggles. The expressionist coloring of the movie does make the few dream sequences unclear, and while this could’ve been a creative choice, it does not work well enough to be defined as such.
There are also some holes to be filled in the plot — Maddox’s violence and aggression rise to the point where he audibly threatens others and causes public disturbances with questionable consequences. There are a few false endings as you reach the end of the runtime, which end up making one question how much time is really left.
Overall, “Magazine Dreams” is a cinephile’s paradise. With echoes of Martin Scorsese’s “Taxi Driver” and Thomas Anderson’s “Boogie Nights,” “Magazine Dreams” poses tough questions about the pursuit of dreams and what it means to reach them. It explores feelings of inadequacy and loneliness while also placing blame on the system as a whole.
The film is raw, dark and well worth a watch. As award season rolls around next year, expect to hear conversations about “Magazine Dreams.”
Jack DeWitt can be reached at [email protected]