Ben Ormand

Ben Ormand has his fingerprints all over some wild and weird stuff in recent years. If you checked out “We Can Be Heroes” back in 2020, you probably caught the whole chaotic, superhero-kids-save-the-world energy. That movie wasn’t shy about being loud, colorful, and a little bit bonkers—kind of perfect for anyone who ever wished Saturday morning cartoons would just jump off the screen and run riot for two hours. Ormand’s touch? You can feel it in the way the story refuses to sit still or take itself too seriously. Now, “The Lovebirds”—also from 2020—swerves in a totally different direction. Think: a couple on the rocks, accidentally tangled up in a murder mystery, running through the city like they’re stuck in some fever dream version of date night. The comedy’s quick, the pacing’s almost manic, and you get the sense nobody involved was interested in playing it safe. Again, that’s Ormand’s influence. He seems to like stories that zig when you expect them to zag, that keep you guessing whether you’re about to laugh, cringe, or both. Then there’s “Spaceman” (2024), which really just tosses the rulebook out the airlock. Space drama? Existential crisis? Talking alien spider? It’s all in there, mashed together with this strange poetry that sticks with you after the credits roll. It’s the kind of movie that doesn’t care if you “get it” right away—Ormand’s projects seem to invite you to just hang on for the ride and see where the weirdness goes.