Concessions Review (EIFF 2025)
The movie theatre experience is a fading art. The rise of streaming and the decline in cinema attendance post-COVID, caused by various factors like shorter theatrical exclusivity periods and rising ticket prices, threaten this tradition. Without the theatrical environment, films will never feel the same again. Some of my favourite cinema memories involve packed auditoriums, such as watching The Shadow Strays at the midnight madness screening in Toronto and viewing Battle Royale in cinemas for the first time, after previously seeing it on a low-quality YouTube video. Concessions takes place during the final day of the cinema’s operation, following a mixture of characters, resulting in a chaotic yet enjoyable time.
The Royal Almo cinema is closing its doors for good. The cinema shows a variety of films on 35mm, like Taft the musical and Schindler’s List Refuelled. We observe colleagues Nathan (Rob Riordan) and Lorenzo (Jonathan Price) arguing about the state of modern movies and filmmaking in general, discussing their lives and futures as they confront the closure of the theatre. Nathan, who has worked at the cinema since high school, feels he has wasted his life there, while Lorenzo, who has a football scholarship to the University of Tampa, grapples with his anxieties about the future. We also follow the many patrons entering and the manager, who must continue to enforce the rules.
Concessions feels like a cinematic pick-and-mix stand, overstuffed with tonal shifts and narrative detours that overwhelm more than they entice. It’s a sensory barrage, crammed into a 90-minute runtime that barely gives the audience room to breathe. One moment, we are having Kevin Smith-style dialogue about how the Star Wars prequels are just as racist as The Birth of a Nation, the next we transition to Nathan having an awkward conversation with someone he went to high school reminding him that this was supposed to be a temporary high school gig. Then the film hard transitions to a The Death of Dick Long plot where they imply a guy has a weird video involving pigs.
Even though the film is set in 2023, it feels as though it’s been unearthed from a reel marked 1973. From the pervasive grain that textures every frame to the warm, golden hue that bathes the entire feature, the aesthetic is unmistakably retro. The film even has a double-dolly shot, which instantly evokes Spike Lee. Derrick Chen does a great job as cinematographer and brings life to the film. Every visual aspect feels like a love letter to cinema, and this all stems from the beautiful camera work.
Concessions carries a bittersweet weight as the first posthumous release featuring Michael Madsen. While his turn as stuntman Rex Fuel won’t leave jaws on the floor, Madsen still delivers an energetic and compelling performance that fits the film’s tone. The supporting cast holds their own as well. Rob Riordan is solid as Hunter, particularly in the film’s standout scene: a tender, nostalgic monologue about his first time seeing Close Encounters. Steven Ogg brings chaotic energy to the role of manager Luke. While it’s difficult to separate him from his iconic portrayal of Trevor in Grand Theft Auto V, he still does a commendable job in the film.
Concessions is a messy good time. This film will not blow you away, but you will laugh, you may even cry, but by the time the credits roll, you will have had an enjoyable time.
★★★
Playing as part of the 2025 Edinburgh International Film Festival on August / Rob Riordan, Jonathan Price, Michael Madsen, Steven Ogg, Annie Grier, Ava Burka / Dir: Mas Bouzidi / 15
Discover more from
Subscribe to get the latest posts sent to your email.
About the Author
