The Life of Chuck made me not want to go to the bathroom, even though my body was telling me otherwise. You may not know it, but that’s one of the highest accolades I can give a film these days.
Context: I’ve been trying to drink more water. Like a lot more water. Which makes me have to take a piss more frequently. Which means that when I go to theaters, I more often need to step out midway through for you-know-what (worse, sometimes I have to go twice).
I would not have pegged The Life of Chuck, marketed as a sweet “celebration of life” and emotionally heartwarming drama as a movie that would cause me angst, but as my bladder began to tap SOS partway through this Mike Flanagan adaptation of a Stephen King short story, an internal battle waged. I needed to go, but I wouldn’t go. I couldn’t go. I was too enthralled by what I was watching. Entranced. Bewitched.
The Life of Chuck is one of the best movies of 2025, a powerfully seductive drama unlike any other. A testament to Flanagan’s talent and his ability to connect to King’s material in a way few other directors seem to do, The Life of Chuck works so effortlessly and yet with absolute intentionality it’s impossible not to be drawn into its allure.
Told in reverse, Act Three draws you in from its opening moments. Though title character Chuck (Tom Hiddleston) lingers in the background, the star at first is Chiwetel Ejiofor. The end of the world (universe?) is observed through his eyes, and it’s the most fascinating and oddly calming end of the world examination put to film.
But The Life of Chuck is not about the end of the world. Far from it.
Act Two is equally immersive but completely different, a joyous ode to the simple things that features a heartwarming (there’s that word from the marketing!) dance number.
The final segment, Act One, is the most challenging as we shift into Chuck’s childhood. Having to follow two pitch-perfect acts means that The Life of Chuck arguably ends on a down note–it’s a little slower, a little less intoxicating, and certainly less unique–though it’s still a splendid showcase of writing, acting, and storytelling. Young Benjamin Pajak delivers a terrific performance as Chuck, while an elderly Mark Hamill nails what could be his Oscar-worthy opportunity. More importantly, Flanagan and King bring it back around as if there was no other way this unpredictable story could end.
The Life of Chuck is a mesmerizing piece of filmmaking. Hard to describe, even harder to market, the movie defies its seemingly limited potential, a quaint drama that boldly goes to the stars.
Did that keep me from rushing to the bathroom midway through? No… but I ran as fast as I could.
Review by Erik Samdahl.