August Movies Part 4: Midwinter Break, GOAT, The Super Mario Galaxy Movie, Anaconda

I recently flew to LA for a short trip, which means plenty of hours of in-flight entertainment. Which now means you’re about to read some short reviews of movies I watched on my trip because I never saw them in theaters. Which ones would I actually recommend? Read on, it’s a surprise!

Midwinter Break: Directed by Polly Findlay and written by Nick Payne and Bernard MacLaverty (who adapted it from his 2017 novel), this is a supremely vibey movie about an older couple, Stella and Gerry (Lesley Manville and Ciaran Hinds) who decide to go to Amsterdam for a short vacation. While they are there, we watch the accumulation of hurts between these two people who have silently been bearing slights for years (well, more like the wife has been silent while the husband has been oblivious) but have now reached a tipping point. 

We slowly unravel their backstory and the dramatic incident in Belfast during the Troubles which led them to uproot their lives and move to Scotland, but overall, there really isn't much plot in this film. It looks pretty and stars two powerhouse actors but as the end credits rolled, I was left with a feeling of, "That's it?!" I enjoyed seeing all the tourist attractions in Amsterdam as I had just been there last year, but other than that, I can't say I have much to recommend about this movie. Though I might be persuaded to get the book and see if there was a whole lot more plot in there.

GOAT: If plot is what you seek, then director Tyree Dillihay and writers Aaron Buchsbaum and Teddy Riley have you covered with this animated movie about a small goat named Will (voiced by Caleb McLaughlin) who aspires to play the highly competitive and physical game of Roarball. Unfortunately, everyone mocks his ambitions because only big animals play Roarball, including his idol, a black panther named Jett (Gabrielle Union). Through a series of (un)fortunate events, Will gets recruited to play for his hometown team, the Vineland Thorns, alongside his hero Jett, and a motley crew of other animals voiced by Aaron Pierrs, Nicola Coughlan, David Harbour, Nick Kroll, and Stephen Curry himself. 

The Thorns have been playing terribly and one of the big issues is that Jett doesn't trust her teammates, feeling like she needs to score all the points herself. So of course, this is a movie that's about delegation, trusting others, and learning to work together as a harmonious team. It's wildly inventive, beautiful to look at, and has a brisk pace that will keep you engaged from start to finish. Given the Knicks' recent championship win, I couldn't help but think of who all these characters would be if they were Knicks players, so that is another fun side quest as you watch this film. You're welcome.

The Super Mario Galaxy Movie: Love animation but looking for a nostalgia boost with existing IP? Mario's got you covered. Directed by Aaron Horvath and Michael Jelenic and written by Matthew Fogel, if you loved The Super Mario Bros. Movie, you can rest assured you'll enjoy this one too. You'll get a rollicking adventure across the galaxy as Mario, Luigi, Toad, Yoshi, and Peach (voiced by Chris Pratt, Charlie Day, Keegan-Michael Key, Donald Glover, and Anya Taylor-Joy) attempt to save Princess Rosalina (Brie Larson) from Bowser Jr. (Benny Safdie), who is just trying to save his dad (Jack Black). Along the way there will be plenty of audio and visual gags to remind you of the video games and scratch that primordial itch in your brain. 

The animation is colorful and stunning, the voice cast is spot on (Glen Powell shows up as a very Powell-esque character as well), the Lumas are cute as can be, and the story just rollicks along at a breakneck pace so you never get too bogged down in unnecessary details. It's fun and funny, and you already know if you're the target audience for it. So if you are, go forth!

Anaconda: Written by Kevin Getten and Tom Gormican, who also directed, the premise of this film is that a group of friends who love the 1997 movie Anaconda decide to remake it, despite not having a lot of money or filmmaking talent. The friends consist of Doug (Jack Black), Ronald (Paul Rudd), Claire (Thandiwe Newton), and Kenny (Steve Zahn) and when they get to Brazil, they enlist the help of Ana (Daniela Melchior) to take them on a boat down the river, and Carlos (Selton Mello), a snake handler who supplies a snake for their venture.

Of course, once they get into the jungle, it turns out there's an actual Anaconda on the loose that starts hunting them, and everything gets very meta. I cannot say I paid ANY attention to this movie. My friend, who is a fan of the original Anaconda, seemed to derive a great deal of enjoyment from it, but she had also never seen the trailer, which seemed to give away about 50% of the plot of this film. I guess all I can say is, if you love Anaconda and enjoy extremely silly comedies, this might be the movie for you. But unless you're in that very niche audience, give your eyes a rest. This movie is not worth it.

August Binges: The Hawk & Alice and Steve

Have I been bingeing more TV shows on streaming services? You know it! I've got two comedies for you - one is very American, and the other is very British, so pick your poison.

The Hawk: Created by Will Ferrell, Harpet Steele, and Chris Henchy, this is a show about a has-been golfer, Lonnie "The Hawk" Hawkins (Ferrell), who keeps playing at various tournaments with failing success in an effort to get into the US Open and finally win the career Gland Slam that eluded him in his prime. Matters are complicated by the fact that his son, Lance (Jimmy Tatro) is now also a pro golfer and is a rising star on the PGA Tour. Over the course of the season's ten episodes, father and son will miraculously find themselves playing against each other in the same tournament, and that will unpack a lot of parental baggage.

The supporting cast includes Fortune Feimster as Sam, a woman who suddenly becomes Lonnie's caddy, despite having no golf knowledge - you can imagine how that goes. And Molly Shannon, who plays Lonnie's ex-wife (well they haven't signed the divorce papers yet, so it's more of a long-standing acrimonious separation), and Lance's helicopter mom. The casting tells you all you need to know - these are a bunch of comedy folk who aren't exactly renowned for their subtlety so expect very broad humor, much of which feels like an SNL skit that is somehow being stretched out into a half hour of comedy for each episode.

Is this show high art? No. But did it provide sufficient diversion when I needed something to watch over the weekend that wouldn't require too many brain cells? Of course. Pop it on while you're doing your chores and have a chuckle!

Alice and Steve: I started this show in the afternoon, had to leave to meet some friends for dinner, and then binged it all when I got back home. It's only six half-hour episodes, so a very manageable day-binge, and well worth it. Though I certainly have certain quibbles that we can get into.

Created by Sophie Goodhart, this is a story about two fiftysomethings in London who are best friends, Alice (Nicola Walker) and Steve (Jemaine Clement). They have a raucous and loving friendship that is turned completely upside down when Steve starts dating Alice's 26-year-old daughter, Izzy (Yali Topol Margalith). This causes an upheaval that threatens everyone in their immediate vicinity, including Alice's patient but downtrodden husband, Daniel (Joel Fry) and their young son Dom (Tyrese Eaton-Dyce). It is British cringe comedy in its purest form, awkward but hilarious, with absolutely biting one-liners that kept me laughing for ages. 

This is such an unusual premise, and it's told with such wit and verve that I can't help but recommend it to everyone I meet. Unfortunately, the season does end on a horrendous cliffhanger, and the show hasn't yet been picked up for Season 2, so my recommendation does come with that caveat. I thoroughly loved the journey, but the destination was a little wanting. I dearly hope this show gets another season, because these actors and these characters are phenomenal and I desperately want to know what happens next in their extremely chaotic lives. But for now, I'm just glad I at least got a glimpse into their world for one season.

June Movies Part 1: Backrooms & Power Ballad

I headed to the movies this weekend and watched one Gen Z blockbuster horror film that everyone's talking about and one sweet, melancholy Irish movie that almost no one is talking about. I enjoyed both, but for very different reasons.

Backrooms: Written by Will Soodik and directed by the 20-year-old (!) Kane Parsons, based on YouTube videos he started creating in 2022, this movie is extremely wild and twisty and slightly impossible to explain. But my god it's a vibe, and I vibed hard with it. Chiwetel Ejiofor stars as Clark, an angry divorced man who aspires to be an architect but instead owns a struggling discount furniture store. After his wife kicked him out, he has been living in the store, and has noticed the electricity is behaving erratically, with power surges and losses at all hours. One night, he goes down to the basement to investigate why the lights are off, and he sees something shimmering on one of the walls. When he approaches, he discovers he can walk through this wall, and into the titular "backrooms." 

This is where all kudos goes to Danny Vermette, the incredible production designer, without whom, this film would be nothing. The backrooms are a weird and eerie, slightly-off maze of interconnected rooms that just keep getting stranger and stranger as Clark wanders through them. The score and sound design by Edo Van Breemen and Parsons also deserve a lot of kudos because we get the constant hum of the overhead fluorescent lighting as an accompaniment, but then the sudden footsteps, or sudden silence that signifies only bad things could happen next. Honestly, the sound design scared the crap out of me more effectively than the appearance of actual monsters.

Yes, there are monsters lurking in these rooms, and yes, things will get a little bloody towards the end, but the majority of the time, you are just wandering through this insane world, trying to figure out what's going on, and having a mild panic attack for 110 minutes. Ejiofor is excellent as our protagonist who is also a little despicable, while Renate Reinsve is an excellent audience surrogate, playing Clark's therapist, Mary, who has her own intricate back story that will unfold over the course of the film. It's all very layered and complex, like the backrooms themselves, and there are so many interpretations you could come up with as you watch this film. The main thing though, is that you have to see it. It's a wild ride, and I joyously went along for it.

Power Ballad: Directed by John Carney, who also co-wrote the screenplay with Peter McDonald, this is a classic Carney piece about the conflict between artists who make music because they love it and the record labels and big stars who make music because of capitalism. Paul Rudd stars as Rick Power, a former rockstar who settled down in Ireland 15 years ago after he married an Irish woman and had a daughter. Giving up on his rock dreams, he now sings for a wedding band. It's not glamorous work, and he misses being able to play his own songs instead of the usual comfort fare required at a wedding. 

At one wedding, however, Rick meets a famous singer, Danny Wilson (Nick Jonas who is not playing a character too far from reality, but still acted the hell out of this part, much to my surprise). Danny was formerly in a boy band but is now trying to strike out on his own, and he's trying to write songs for his upcoming album. He and Rick have an all-night jam session once the wedding festivities conclude and joyously make music together, riffing on each other's work, and enjoying a very creative collaboration that leave both in admiration of each other. What could go wrong?

Rick goes back to his life, and Danny goes back to his, and then six months later, Rick hears a song playing at the mall. He instantly recognizes it as "How to Write a Song Without You" a song that he has been noodling on for years, and that he had shared with Danny during their collaborative night. Well, Danny was able to add a bridge, produce the hell out of it, and now has a #1 single on his hands, with no songwriting credit to Rick whatsoever. What follows is a story that made my husband nervous, because he thought the tone of the film was going to become very dark and insane. But I knew the most I could expect from a Carney movie was a little melancholy and a lot of soul. There's a fair amount of comedy, because how could you not when you have Rudd at the helm, but he does a great job playing this slightly sad sack musician, who isn't quite living his dreams and just wants recognition for finally writing the hit song he has been chasing for so many years. 

It's a beautiful story about creativity and collaboration and credit, all topics that are so dicey and controversial when it comes to making music and art, and it's deftly told and distilled with that traditional Carney whimsy and Irish flair. I loved this movie and it made me tear up at various points. And not for nothing, "How to Write a Song Without You" is a certified banger - I hope it starts climbing up the charts, because nothing makes me happier than when a movie about a hit song actually generates a hit song. It's such a difficult task, and initially, when I heard the song in the movie, I didn't think it was that great, but by the time you hear it twenty times, in multiple contexts, with different production values, you really do learn to appreciate the art and craft of songwriting. It's a beautiful musicology lesson and movie all wrapped up in one.

May Binges Part 1: Big Mistakes, Beef, The Miniature Wife

Yes, I'm still desperately trying to catch up on all the new TV - truly a losing battle. But I've binged more shows and now it's your turn to binge them too!

Beef: I ordinarily don't do season-to-season reviews, but given that this is shaping up to be an anthology series and this season was extraordinarily good, I'll just go ahead and tell you to watch it, shall I? Created by Lee Sung Jin, this season felt much more chaotic and epic in scope than the first, now featuring two warring couples whose lives get intertwined in increasingly dangerous ways. Oscar Isaac and Carey Mulligan star as Joshua and Lindsay, a couple who help manage a fancy country club in California, but are trying to save up for their dream of running their own bed and breakfast. They used to be a cool couple, but now they are approaching midlife, their marriage is getting fractious, and it seems clear that thigns are goign downhill fast. Contrast this with the young couple Ashley and Austin (Cailee Spaeny and Charles Melton) who work at the country club. They are young and naive, desperate to start their lives together but constantly set back by financial pressures. Will any of these couples succeed? Or will everything fall apart spectacularly? Watch to find out!

Over the course of eight episodes (much tighter than the first season's ten!), this season takes you on an emotional rollercoaster and you can never predict from one minute to the next who is going to be blackmailing whom, and when there might accidentally be a murder or two. Youn Yuh-jung also stars as Chairwoman Park, the Korean billionaire who becomes the new owner of the country club, and as she gets more involved in all the drama, things escalate to an absurd and exciting degree. Just let this show unfold before your eyeballs - make sure you set aside enough time to do so, because you're not going to be able to stop once you get started.

The Miniature Wife: Created by Jennifer Ames and Steve Turner (based on a short story by Manuel Gonzalez), this show stars Elizabeth Banks and Matthew Macfadyen as Lindy and Les, a couple that have been married for a very long time. The spark is fading from their marriage, and they mostly just tensely quote their couples therapist's aphorisms at each other in arguments. Lindy is a Pulitzer Prize-winning author whose career has now stalled after she moved to St. Louis to support Les's dream of working on cutting-edge research that could potentially earn him a Nobel Prize. That research involves the ability to shrink food so it could be transported more easily and then regrown when it arrives at the desired location. As the title of the show might have suggested, there is an accident and Lindy accidentally gets shrunk down to six inches tall. And Les, who hasn't yet figured out the formula to grow the shrunken objects back to their original size, has his work cut out for him.

I would watch this show a little bit at a time and frankly, it got to be a bit of a slog. Ten episodes long, 40+ minutes each, it was a bit too bloated. It would have been much better as a zippy half-hour comedy, but unfortunately, the writers meander through the story of this couple's chaotic marriage in far too much detail, giving us all the backstory about every single slight that led them to this precipice. In the present day, there's also a lot of unnecessary drama with supporting characters who don't really need to be there. The show covers a lot of good ground about how marriages require constant work, and also the nature of parenting, as both Les and Lindy have very different relationships with their teenage daughter Lulu (Sofia Rosinsky). But apart from the fun production design and camerawork to take us into Lindy's tiny world, this show struggles to be particularly engaging. I love these actors, and I watched all of it, but the whole time I found myself wishing they were doing something else.

Big Mistakes: Created by Dan Levy and Rachel Sennott, now here's a zippy half hour comedy that gets in and out in eight episodes. Levy and Taylor Ortega star as Nicky and Morgan, siblings who accidentally get on the wrong side of some Turkish crime bosses and are blackmailed into helping out with bizarre criminal enterprises. Meanwhile, their mother, Linda (Laurie Metcalf), is busy with their sister, Natalie (Abby Quinn), planning a campaign to run for mayor of their New Jersey town, so both women are too consumed with those logistics to notice the chaos Nicky and Morgan have descended into. 

Given how short and sweet the show is, I'll refrain from more details so you can let all the surprises wash over you. Suffice to say, Levy and Ortega are a great comic duo and watching Levy's face contort as he finds himself in impossible situations was my favorite part of the whole show. Nicky and Morgan are stereotypical adult siblings who have lost touch and have all these misconceptions about each other, but over the course of the show, they will start to learn and grow from each other, in both good ways and bad. I will warn you, the ending does have a cliffhanger, and Netflix hasn't picked this up for a second season yet, but I think the first season stands on its own two feet perfectly well and kept me very entertained on an otherwise boring weekend. It's charming and breezy, and sometimes that's all you can ask for. 

April Binges Part 2: Company Retreat, Twenty Twenty Six, The Fall and Rise of Reggie Dinkins

I have been watching a lot of comedies this month and binged my way through two, while reaching the very satisfying finale of another one I had been watching week-to-week. Now they are all available to give you a giggle and some respite from reality. Dive in!

Company Retreat: This is from the creators of Jury Duty, but obviously you cannot just keep faking jury duty all the time, so this time, creators Gene Stupnitsky and Lee Eisenberg decided to hire an unsuspecting man named Anthony as a temp for a fake company called Rockin' Grandma's Hot Sauce. Anthony joins the company and gets to know the wacky staff, and a week later, he is whisked away on their annual company retreat. He thinks the camera crew are just there to film a documentary about small businesses, but little does he know there's a whole operation behind-the-scenes that are filming him at every turn and trying to see what he will do in increasingly chaotic situations.

Much like Ronald in Jury Duty, I don't know how the show's producers managed to find such a gem of a man, but it's wonderful to watch Anthony just roll with the punches and make some deep and meaningful connections with these strangers. Things fall apart real fast, but Anthony, the good-natured temp, is always ready with a smile and some calming words to help defuse the situation and get his zany colleagues back on track. They even capture a moment when he says that everything is so nuts that you couldn't write a script to match it, which the show's writers obviously got a real kick out of.

The penultimate episode is where Anthony really gets to shine as the hero, making a grand gesture to help save this company and the people he has come to love over the course of such a short time. And then in the final eighth episode, we get the grand reveal where the show's producers walk him through just what has been going on for the past two weeks and we get some insights into the production design and rehearsal process that took place months before filming. It's such a massively creative endeavor, and it's insane to think that it requires everything running on rails - sometimes they don't, and we get treated to some moments when the actors had to quickly cover up a mistake, or the moments when they simply couldn't stop laughing. It's a very funny show, but mostly it's an extraordinarily heartfelt show that reminds us that there are still some very good humans out there in the world.

Twenty Twenty Six: I had no idea that creator John Morton was doing this show until I randomly saw a YouTube ad for it and discovered all six episodes were now available to binge. Which I proceeded to do in a heartbeat. Hugh Bonneville is back as Ian Fletcher, the man that we got to meet in Twenty Twelve, when he was helping to plan the 2012 London Summer Olympics, and W1A when he was trying to help re-brand the BBC. This time, he's in Miami, trying to help organize the 2026 FIFA World Cup (the show has to bleep "FIFA" anytime a character says it, which makes for an amusing running gag).

Much like those other shows, Ian finds himself amidst a group of weirdos, all of whom are trying to promote their agendas, and simply cannot answer a single question with a straight answer. There's the Zurich liaison, Eric (Alexis Michalik), who is absolutely no help in a crisis; the Sustainability champion (and potential love interest), Sarah (Chelsea Crisp), who is passionately pushing initiatives to make the games more environmentally-friendly but fighting a losing battle; Gabriela (Jimena Larraguivel), a Mexican woman who is heading up Optics and Narrative and wants every match to be held in her home country; Nick (Paulo Costanzo), the extremely volatile Business and Legal head, who is as New York as they come; Owen (Stephen Kunken) the head of Logistics, who doesn't seem to realize that's his job; and then Phil (Nick Blood) a Mancunian who loves David Beckham but otherwise doesn't know what's going on. And of course, they all have to deal with the social media team, who know nothing about football, but are going to try to market the hell out of it anyway.

The only other character who is back from the other shows is Will (Hugh Skinner), as Ian's bumbling assistant. Here, he continues to be thoroughly lost but still failing upwards, and it's fun to see how his every mistake turns into a potential win for this hapless team. Every episode features yet another bizarre crisis that requires quick decision-making and strategic problem-solving, which are of course, anathema to this group. And yet, they always manage to pull something out of the hat at the eleventh hour and save the day in some extremely improbable fashion. Each episode is only a half hour long, but I could watch these people talk in their strange double-speak for hours, saying absolutely nothing but talking a mile a minute anyway. It's truly the best of British humor, and while I don't care about the World Cup at all, I'm so grateful for it just because it allowed me to get another season of this absolute chaos.

The Fall and Rise of Reggie Dinkins: Created by Robert Carlock and Sam Means, this is exactly the show you want if you've been missing the zany stylings of Unbreakable Kimmy Schmidt or 30 Rock. Also, like Kimmy Schmidt, you may find yourself singing the theme song (composed by Jack Grabow) every single time you turn it on. 

Tracy Morgan stars as Reggie Dinkins, a famous football player who became infamous once he was caught gambling and was ignominiously kicked out of the NFL. Now, an Oscar-winning documentarian, Arthur (Daniel Radcliffe, in an incredibly delicious comic role), has arrived to film Reggie and his life, in the hopes of rehabilitating his image. Arthur himself has had a fall from grace after he was fired from directing a superhero blockbuster. He has a lot to prove, but a documentary about Reggie Dinkins may not be the best way to do that. Meanwhile, Reggie's support system consists of his ex-wife Monica (Erika Alexander), who is still his manager and is very close to him as they co-parent their teenage son Carmelo (Jalyn Hall); his best friend Rusty (Bobby Moynihan), who was his former teammate and is a very lovable doofus; and his fiancée Brina (Precious Way), a young entrepreneur who is always hustling to find a new side hustle, and fits right into the madness.

This is a show that is incredibly joke-dense. Forget the actual plot and storylines, half of the time you will find yourself dying of laughter at side gags involving fake TV shows like FDNY: Chicago, where New York firefighters go to Chicago to fight fires but keep forgetting the time difference or losing their hoses at O'Hare. If that sounds like the spectacularly dumb but hilarious comedy you're into, then buckle up, because this show has ten episodes of the stuff to deliver. All of the actors are having a great time, and who knew Tracy Morgan and Daniel Radcliffe were the comedy duo we had all been missing in our lives?! The show also has a tremendous amount of heart and is so good-natured. Everyone on this show loves and supports each other, even if they are the most ridiculous people on the planet, and every time you watch an episode, you are bound to laugh out loud at least once and then leave with a big smile on your face.

April Binges Part 1: Bait & Taskaree

Haven't been watching enough TV about South Asians? Well, here I am with two VERY different miniseries. One is a British comedy-drama about the pressure of representing the South Asian community (and particularly Muslims) in the UK, while the other is a classic Bollywood action-drama about the customs officers at Mumbai's International Airport. Fasten your seatbelts, it's gonna be a bumpy ride!

Bait: Created by and starring Riz Ahmed, this is the story of a struggling British actor named Shahjehan "Shah" Latif (Ahmed), who is auditioning to be the next James Bond. Obviously, this role comes with a lot of meaning - Bond is considered a quintessentially British role, that has hitherto only been played by white male actors. Naturally, it would be a coup for Shah, a British Pakistani Muslim, to get this role. But the significance of it leads him into a spiral of self-sabotage. We are also introduced to his family, consisting of a doting mother, Tahira (Sheeba Chaddha), jokey father, Parvez (Sajid Hasan), and two cousins who were raised with him, Zulfi (Guz Khan) and Q (Asiya Shah). 

This is a short and sharp show, only six episodes, under thirty minutes long, so I don't want to get into much detail. You have to let the wildness of the show unfold for yourself, but suffice to say, it does a brilliant job of capturing the South Asian immigrant experience, the particular nastiness of the racism faced by South Asians in Britain (be prepared for the P-word to be deployed a lot), and the difficulties of straddling both your brown community and the white one you're trying to integrate into. 

All of the scenes with Shah's family felt like something that could have been filmed during any of my family gatherings (well, with slightly less drama and destruction, of course), and at the center of it all, we have Riz Ahmed, with those big, expressive eyes, conveying a world of hurt, humiliation, and confusion as he tries to navigate this very weird situation he has been put into. The show was not as funny as I wanted it to be, but it was certainly a chaotically good time and a wonderful addition into the TV genre of layered South Asian representation. If you're looking for something fresh and new, this is exactly what you seek.

Taskaree: Are you looking for layers? Then move right along. With this show, created by Neeraj Pandey, you're going to get a rather typical Bollywood masala action romp, with a little dash of romance and plenty of police brutality. This show thoroughly lacks any nuance, but it's still a very fun ride with plenty of twists and turns, so you will have a good time, as long as you turn your brain off first. 

Emraan Hashmi plays Arjun Meena, a customs officer in Mumbai's International Airport who has a reputation for taking his job seriously and being incorruptible in a profession that is otherwise well known to be full of people who are willing to look the other way if offered a nice little bribe. When a new commissioner, Prakash Kumar (Anurag Sinha) is brought in to crack down on all the international smuggling that goes through the airport, Arjun and his most trusted colleagues are brought together on a task force to help bring down a criminal syndicate headed by Bada Choudhary (Sharad Kelkar). Bada has couriers operating out of Al Dera (for some reason, a fictional city that is just a stand-in for the UAE), Ethiopia, and Milan, so what follows is a very international escapade told with a great deal of Bollywood flair. 

The story is fast-paced, every episode ends with an amazing cliffhanger, and as long as you suspend your disbelief at points, you are promised a great time. It's only seven episodes long and makes for a quick and dirty binge, so settle down on your couch. Also, your Hindi vocabulary is really going to expand as you learn more about smuggling terminology and the layers of Indian intelligence bureaucracy than you could have ever expected. So, it's fun AND educational!

February Movies Part 2: The Moment & Wuthering Heights

It's a Charli XCX special today. We have one mockumentary about her going on tour to promote her Brat album, and then we have Emerald Fennell's highly divisive adaptation of a beloved piece of gothic literature that features an appropriately chaotic soundtrack by Charli XCX. Let's dive right in for some glorious insanity.

The Moment: Directed by Aidan Zamiri, who also co-wrote the screenplay with Bertie Brandes, this is a hilarious and incisive mockumentary about the current life of a pop star. Charli XCX stars as herself (well, a ridiculous version of herself), at the height of her stardom in 2024 after Brat Summer. Her record label is desperate to keep the momentum going through various marketing promotions and constant hype, leaving Charli exhausted and more than a little vulnerable. They also want to film her concert tour for Amazon, which means hiring a super weird director, Johannes (played by Alexander Skarsgard, the king of being a comically sleazy Scandinavian), who clashes with Charli's friend and trusted creative director, Celeste (Hailey Benton Gates). Meanwhile, her hapless manager, Tim (played by Jamie Demetriou, the patron saint of hapless characters), tries to juggle all her commitments and money-making ventures, with varying levels of success.

Everything is chaotic, messy, and set to Charli's rave music, which is eminently danceable, but in this film is used more to induce a sense of a heart attack. Do not watch this film if you're prone to photoepileptic seizures, that's for sure. There are so many jokes to keep the momentum going: I especially enjoyed a marketing ploy to promote limited edition Brat credit cards to young, queer people, where Charli appears to be the only sensible person who questions, "how does the bank know they're queer?" I had a great time giggling throughout this film, and even if you aren't a fan of Charli's music, this is a very funny and painfully accurate summary of influencer culture, social media, and the toll that fame takes on young artists these days. If you get tired of Charli's music, there's also a particularly delicious needle drop at the end of this movie that heralds this as a quintessentially British production. I loved it so.

Wuthering Heights: This movie has been extremely polarizing so let's get this out of the way - I loved it. As far as I'm concerned, Emerald Fennell is one of my favorite directors, and I will watch anything she does with a big ol' smile on my face. It perhaps helps that I hate Emily Bronte's 1847 novel and never regarded it as a swoony romance. I always saw Heathcliff and the other characters as odious people, and thankfully, my girl Fennell agrees. So what follows is a glorious adaptation that is scrumptious to behold, but makes no bones about the ugliness of its protagonists.

Margot Robbie and Jacob Elordi star as Cathy and Heathcliff, the doomed lovers at the center of our tale. We first follow them as children: Cathy is the only daughter of the impoverished and abusive Mr. Earnshaw (Martin Clunes, having a jolly time hamming it up as an alcoholic degenerate gambler), and she has a paid companion, Nelly (the bastard daughter of a nobleman), who strives to be the voice of reason when Cathy is prone to her more dramatic fits. One day, Mr. Earnshaw brings home Heathcliff, a boy who was being beaten by his father on the road. He declares that Heathcliff can be Cathy's "pet," but obviously, he's nothing more than a servant boy, who is also subject to Mr. Earnshaw's abuses and tyrannies. Cathy and Heathcliff quickly become fast friends, however, and as they grow up, it becomes clear that maybe their friendship is becoming a little bit more...lusty.

The imagery in this movie is hilarious, with Fennell managing to make egg yolks and slugs seem so sexy that I will never look at them in the same way again. The costume design by Jacqueline Durran is absolutely unparalleled, and the cinematography by Linus Sandgren makes every frame of this film look like it should be in a museum. I could simply stare at this movie all day, while the weird and eerie Charli XCX soundtrack thumped around me. Everything about the film is a little anachronistic - the fabrics of some of the dresses seem like they would be more appropriate at a rave than on the misty Yorkshire moors, the music is very techno, and there's a wild amount of sex and kink, considering none of that ever happens in the novel. I would like to believe that if Emily Bronte watched this adaptation, she would publicly condemn it but secretly declare this is exactly what she would have written if she had not been constrained by her era. It is way too sexy and over-the-top, but it's a batshit crazy cinematic spectacle that I fell in love with again and again.

February Binges: Agatha Christie's Seven Dials, His & Hers, Ponies

There's been a lot of new TV recently and the weather has been freezing. So I stayed on the couch and got through a lot of binges. Join me, why don't you?

Agatha Christie's Seven Dials: I fell in love with Agatha Christie mystery novels when I was a teenager and have watched many TV and movie adaptations of her work. So naturally I was going to binge this three-episode miniseries to my heart's content. Written by Chris Chibnall and directed by Chris Sweeney, like all great British period dramas, this adaptation boasts an all-star cast and some impeccable costume and production design. 

Our main protagonist is Lady Eileen "Bundle" Brent (Mia McKenna-Bruce), a young socialite who has fallen on hard times after the death of her father. She and her mother (played by THE Helena Bonham-Carter) have rented out their house to an odious "new money" couple for a house party one weekend. Of course, that's when tragedy strikes, with the death of a man that Bundle was especially close to. The verdict is suicide, but Bundle knows that cannot be right, leading to a murder investigation that will require the sleuthing skills of Superintendent Battle (played by Martin Freeman). 

I have read the book this series was based on, but I must admit I have no recollection of the plot being quite so convoluted. It does appear there were certain additional twists and turns that make it less than a faithful adaptation, but it's certainly a fun one and an excellent way to kill three hours of a dreary afternoon.

His & Hers: Based on the 2020 novel by Alice Feeney, William Oldroyd has developed this adaptation alongside showrunner Dee Johnson, moving the action from England to Georgia and pulling in heavy hitters like Tessa Thompson and Jon Bernthal to star. Thompson plays Anna Andrews, a local news anchor who disappeared for a year after some tragedy but has now returned and is determined to get her job back. She's been replaced by Lexy Jones (Rebecca Rittenhouse) but Anna thinks she can prove her skills by working as a field reporter on a recent murder that took place in the town where she grew up. Who is the detective investigating that homicide? Her estranged husband, Jack (Bernthal). 

Turns out Anna also has a connection to the victim, and things just keep getting twistier from there. This is the type of mystery where absolutely everybody is a suspect, and yet, in the final half hour, you'll discover that you were wrong all along. Is it kind of ridiculous? Yes. But was it also the absolute perfect six-episode binge for my friend Laura and I to indulge in while I was over at her house for a grown-up sleepover? You bet!

Ponies: Created by Susanna Fogel and David Iserson, this is a weird and wonderful show set in 1977 Moscow. We follow Bea and Twila (Emilia Clarke and Haley Lu Richardson), the wives of two US CIA agents, who mysteriously die while on a mission. The two women are desperate for answers, so they petition the CIA to let them become undercover spies, as the KGB will never suspect the Americans are now using women to do their dirty work. These women have absolutely no experience in spycraft, but they are scrappy and intelligent (Bea went to Wellesley, godammit!), and they are determined to figure out who is responsible for the death of their husbands. So what follows is an elaborate cat-and-mouse game as they cultivate Russian assets and learn to become spies, while reconciling with their own grief and feelings of personal inadequacy. 

In only eight episodes, there are so many twists and turns, but the whole thing ends on a bit of a cliffhanger, so prepare to feel unsatisfied. These actresses are delivering killer performances, and the story is wildly engaging, but the tone also veers all over the place, sometimes feeling extremely serious and dramatic, but oftentimes featuring a lot of comic shtick that can make you wonder if they really even miss their husbands at all. It's an odd but scrappy little show, much like its central protagonists, and while it may be an acquired taste, I'll certainly be tuning in for Season 2.

January Movies Part 2: No Other Choice, Sentimental Value, People We Meet on Vacation

As awards season heats up, I've been trying to catch up on the foreign film contenders. But I'm still keeping up with some light Netflix romance. All work but no play makes Jill a dull girl after all!

No Other Choice: Directed by celebrated Korean filmmaker, Park Chan-wook, who also adapted the screenplay with Lee Kyoung-mi, Don McKellar, and Lee Ja-hye from a novel by Donald Westlake, this is a glorious movie about the evils of capitalism and the lengths to which one man will go after he loses his job. Lee Byung-hun plays Man-su, a loyal employee of Solar Paper, who worked there for several years and slowly rose up the ranks to management, only to get fired once an American company buys out the firm. After more than a year of unemployment, Man-su is getting desperate, and his wife, Mi-ri (Son Ye-jin) has taken on a part-time job, is whittling away at all other non-essentials, and has finally suggested they may need to sell their house and move into an apartment. This is a bridge too far for Man-su - this was his childhood home, and after years of moving around, he bought it in the hopes that he would be able to give his children the stability he never had. Thus, he is forced to come up with a devious plan. He keeps losing jobs because there are other men who have slightly more experience in the paper industry. So the only possible solution? Eliminate the competition.

What follows is a very dark comedy about a man who is going to kill all his rivals and gain a job by any means necessary. As you can imagine, when you're not some cold-blooded trained assassin, that's a pretty difficult thing to do, and hijinks ensue. His wife and children are thoroughly perplexed as to what is going on with him, as he keeps showing up very sweaty from his purported "job interviews," and it's all very chaotic and hysterical.

This is an entertaining film, and it fully captures that sense of dread and loss that accompanies sudden unemployment when you thought your life was going so well. It certainly captures the economic mood of our times and is a wild ride. But would I necessarily give it an Oscar? Like most Korean cinema, it is sumptuously well-shot, the actors are fantastic, and all of the production design is remarkable. But at the end of the day, this is a good story, not a great one.

Sentimental Value: Director Joachim Trier is back with another Norwegian movie that he co-wrote with Eskil Vogt, starring Renate Reinsve. I hated their last movie, The Worst Person in the World, so I suppose it's an improvement to say that I merely didn't like this movie? Reinsve stars as Nora, an actress whose father is a famous director named Gustav Borg (Stellan Skarsgard). Nora also has a sister, Agnes (Inga Ibsdotter Lilleaas, turning in a wonderful performance), who works as a historian and chose a "normal" life with a husband and child. Much like Jay Kelly, their father was very absent; their parents divorced when they were quite young, and they didn't see much of Gustav after that. However, now their mother has died, and Gustav shows up to the funeral with a proposal for Nora. He has written a script, he wants her to star in it, and he wants to shoot it in their childhood home.

Much like No Other Choice, there's a lot of work being done by the production designers to imbue the childhood home with a lot of...sentimental value. But when Nora turns down the role, having no desire to work with her father, he turns to an American actress, Rachel (Dakota Fanning, in a charmingly bewildered role), to take over the part instead. What follows is a lot of psychological exploration and generational trauma and daddy issues that all do get resolved in a rather neat way by the end of this film.

My biggest problem with The Worst Person in the World was that Reinsve's character had no female support system. In this film, the relationship between the sisters is a real ode to healthy sibling relationships in the face of chaotic family trauma. But overall, can I say this movie charmed me? No. It still felt a little too navel-gazing and self-serious, and I'm starting to wonder if any people of color exist in Oslo at all. Because watching Trier's movies about the travails of privileged white people is starting to wear a little thin.

People We Meet on Vacation: Speaking of privileged white people, here is a delightful little romance based on Emily Henry's bestselling 2021 novel. Film adaptations of books seem to be making the journey from page to screen in very rapid fashion these days, but given the popularity of this book, it's not surprising, and the film is also unsurprisingly charming and effervescent. 

The story follows Poppy (Emily Bader) and Alex (Tom Blyth), two people who met as college students, and then, for reasons, decided to have a tradition where they go on an annual vacation with each other. They are platonic best friends, but when the movie opens, something has torn their relationship apart, and they haven't spoken to each other in a long while. So we slowly start to piece together what happened through their interactions in the present, alongside flashbacks to their past nine years' worth of trips together. It's an intriguing narrative device that worked well in the novel and works just as well on film, and with these two charismatic leads, you cannot help but be swept along for the ride. The supporting cast is also stellar, and you will be treated to many globe-trotting destinations along the way.

Is this movie high art? No. But is it filling the hole in my soul that used to be filled by light, fun romcoms that Hollywood simply doesn't release in theaters anymore? Yes. I love reading romance novels, but I do appreciate that Netflix is now bringing those novels to life on film and helping us discover great new acting talent along the way. I do wish we had more romcoms that were based on  original scripts. But I'll take whatever I can get - in this age of AI slop, needs must.

January Movies Part 1: Marty Supreme, Avatar: Fire and Ash, Mrs.

I'll be honest, I saw two of these movies in December. But hey, it's hard to blog over New Year's. If you're interested in an awards contender, a blockbuster, and a quiet Hindi movie, this blog post will satisfy all your desires.

Marty Supreme: Directed by Josh Safdie, who also co-wrote the screenplay with Ronald Bronstein, this movie stars Timothee Chalamet as Marty Mauser, loosely based on the real-life Marty Reisman, who was a US table tennis champion. Set in 1952, we follow Marty's utterly chaotic life in New York City, as a man who doesn't have anyone believing in him, but that's OK, because he sure does believe in himself. The man is a hustler, figuring out any angle he can use to scrape up some cash so he can fly around the world to participate in table tennis tournaments and make a name for himself.

I genuinely wanted this to just be a table tennis movie. There are two sequences in this film, one towards the middle, another towards the end, when you get to watch Marty play table tennis against some of the best players in the world, and those sequences brought me so much joy. But the sport is secondary. This is Chalamet's Oscar vehicle, and he is going to do some Acting! This character is frenetic, whiny, always on the move, and always trying to scam someone out of something. He also gets an assist from the great Odessa A'zion who plays his childhood friend and eventual baby mama, Rachel, a woman who seems very sympathetic at the beginning, but then you realize she might be Marty's equal. Gwyneth Paltrow also stars as an actress who has an affair with Marty for her pleasure and his gain. Does this movie pass the Bechdel test? Of course not. 

I didn't love or hate this film. Chalamet is a powerhouse, but the story felt overwrought and never managed to win me over. It often felt like we were getting a bunch of hyper-intense set pieces that Safdie was struggling to string together into a coherent narrative. Also, 150 minutes tends to breach my tolerance for watching a man who is full of himself. It's a good movie, but in my opinion, certainly not a great one.

Avatar: Fire and Ash: Speaking of men who are full of themselves, writer-director James Cameron is back with yet another installment of the Avatar franchise. Do I remember anything that happened in the previous movies? No. Do I remember anything that happened in this movie despite having seen it just a few weeks ago? Barely.

At 3 hours and 15 minutes, this is yet another bloated extravaganza, that increasingly feels like I'm watching a video game, rather than a movie. This time we are introduced to the Mangkwan, an aggressive Na'vi tribe that live in a volcano and want to partner with humans to dominate the rest of the Na'vi. They are led by Varang (played by Oona Chaplin), and it's just more of the same with the Na'vi tribes having to battle the exploitative humans, environmentalism vs. ruthless capitalism, and Jake Sully (Sam Worthington) having to manage his wife and children and save all the Na'vi all over again.

These movies feel like they could just be AI-generated at this point, and obviously I do not care for them. Are they visually spectacular? Of course. But is that enough to sustain that runtime with clunky dialogue and actors who feel like they're just phoning in a performance so they can make bank? Nope.

Mrs.: Every Christmas, I meet a bunch of my relatives on Long Island. And this year, they were all shocked to discover I had never watched the Hindi movie, Mrs. (that is a remake of a 2021 Malayalam film called The Great Indian Kitchen). Naturally I had to go home immediately and watch this film. 

Written by Harman Baweja and Anu Singh Choudhary and directed by Arati Kadav (shoutout to female directors!), the movie stars Sanya Malhotra as Richa, a vivacious woman who enters into an arranged marriage with a seemingly nice and attentive doctor named Diwakar (Nishant Dahiya). As is custom, she moves into his house to live with his parents, and quickly discovers that the daughter-in-law is expected to spend all her time either helping her mother-in-law prepare mountains of food for the men of the house, or cleaning the house and ensuring it is clean enough to meet her father-in-law's exacting standards.

Richa starts out happy and excited about her new married life, but as the daily routine grinds her down, she realizes that her husband expects her to be nothing better than a housemaid and cook. Oh and of course, to have his babies, which turns sex into an increasingly dreaded activity. There's nothing particularly novel about this film, as it comments on the usual patriarchal bullshit that women wade through in traditional Indian households. But what is refreshing is Malhotra's commanding performance as a woman who is slowly driven to despair. You can see the light dimming from her eyes over the course of this movie: but don't worry. She does eventually fight for herself and reclaim her autonomy. It's a sad movie with a happy ending and packs an emotional wallop. Seek it out if you can.

December Binges Part 1: All Her Fault, Mr. Scorsese, Down Cemetery Road

I have binged many shows this month, and the last two weeks of the year are prime couch potato season, so here are some recommendations. Plop down with the remote and get ready!

All Her Fault: What a terrifically weird show. Created by Megan Gallagher, based on the novel by Andrea Mara, the show stars Sarah Snook as Marissa, a woman who shows up to a strange woman's house one day, assuming that this is where her son went for a play date. Turns out, the boy is not there, and what follows is her worst nightmare as the police have to treat this as a kidnapping case and have no idea where her son might be. Dakota Fanning plays Jenny, a mom whose son attends the same school as Marissa's son, and when she discovers her nanny might be involved in the kidnapping, she is overcome with guilt and wants to help Marissa in any way she can. Meanwhile, Marissa's husband, Peter (Jake Lacy), is the typical straight husband, a man who thinks parenting has been Marissa's responsibility all along, and therefore everything that is now going wrong is...all her fault.

This show makes for a great drinking game. Just drink anytime a woman is annoyed at a man. Shots when someone literally goes "this is all my/your fault!" No spoilers, but my absolute favorite part of watching this show was in the final episode when a character literally screamed, "It was not my fault...it was YOUR fault!" This is not a good show, and yet I was genuinely surprised by twists and turns in the final episodes that finally brought every character's motivation to light. If you want a soapy, silly drama to while away the day, this is absolutely the show for you. But expect to be giggling a lot while you watch.

Mr. Scorsese: Are you a fan of Martin Scorsese? Then director Rebecca Miller has put together a 5-part documentary miniseries just for you. Chronicling the man's asthmatic childhood that led to him playing indoors a lot and thereby becoming enamored of filmmaking, to his exposure to the Italian mobsters in NYC that led to his many movies about them, as well as a certain bravery when it came to negotiating with studio heads. Watching this miniseries made me realize that I have no knowledge of early Scorsese movies - it was only in the fifth and final episode, when we get into his long collaboration with Leonardo DiCaprio, that I started nodding my head along. Of course, I've heard of all those early films, but gangster movies have never been my genre. And yet, I was fascinated all the same.

The series is an incisive portrait of a celebrated filmmaker, and it has a lot of access to people who knew him well and could speak candidly about all of his struggles as well as his incredible successes. His three daughters get to chime in about the extremely different fathers they had when growing up - his older daughters were used to never seeing him as he was too busy on set, while by the time he got around to having his youngest as an older man, he certainly made much more of an effort to be a family man. Miller is also keen to interrogate if Scorsese has a woman problem - Sharon Stone speaks about her experience struggling to get time with him in Casino, while Margot Robbie seems to have had a very collaborative time with him in The Wolf of Wall Street. This is a great series for any cinephile but also if you're just curious to go behind the scenes of some iconic and memorable movies and understand all the drama that was brewing beneath the surface. Merry Christmas!

Down Cemetery Road: Created by Morwenna Banks and based on the novel by Mick Herron, this show stars Emma Thompson as Zoe Boehm, a woman who teams up with Sarah Trafford (Ruth Wilson), after an unexpected gas explosion in Sarah's neighborhood kills a family and leads to a missing child. I won't give away more details than that, because this is one of those twisty mysteries where every single episode ends in a frantic cliffhanger where you suddenly suspect all the lead actors have died and you might have been following the wrong story all along. There's a very elaborate government conspiracy that starts coming apart at the seams, and it's all very British and dry.

Fans of Slow Horses (another Mick Herron series) would probably eat this show up with a spoon, but much like that show, I found myself unable to sustain my interest. The trouble is that the show is rather densely plotted, and in this day and age, unless I can binge it, I find myself flummoxed by watching week to week and completely forgetting everything by the time the next seven days roll around. There's also something about Herron's plots, where everything is always a little bit shadowy and high-stakes. I prefer an Agatha Christie-esque plot where humans have personal motivations for their evil deeds, as opposed to whole government agencies getting involved in criminal activity. But again, you do get to watch Emma Thompson and Ruth Wilson be a kick-ass duo, so that's worth the effort. Right?

December Movies Part 1: Rental Family & Hamnet

There are a lot of movies to watch this month so I'm slowly making my way through them all. Here are my reviews of a technically perfect movie that seems destined for Oscars, and a shaggier but extremely compelling movie that won me over. My reactions to these movies surprised me, maybe they will surprise you too!

Rental Family: Directed by Hikari, who also co-wrote the screenplay with Stephen Blahut, this is a movie about a struggling American actor named Phillip (Brendan Fraser), who has been living in Japan for seven years after he initially had success with a commercial, but now can never seem to get good work. When he meets Shinji (Takehiro Hira), the owner of a rental family agency, he overcomes his initial reservations and agrees to be a part of this company that offers up a uniquely Japanese service - actors for hire who can help people by pretending to be their family members or acquaintances, so they can live out some sort of make-believe scenario that better helps them cope with their life or get out of a sticky situation with a relative. Because there is so much stigma around mental health in Japan, this is what people usually resort to instead of going to a therapist to work through their problems.

I was initially worried that this movie was going down a white savior route. Phillip is constantly troubled by his conscience and wondering why these Japanese people keep bending themselves out of shape to please their families instead of acting on their own desires. But as the movie progresses, there is a great deal of back-and-forth between him and Aiko (Mari Yamamoto), his colleague who is passionate about this job and the good it can do, but who also starts to realize that maybe some of the services they offer are subject to more scrutiny. The very first job that Phillip takes on is so clearly helpful to his client, but the next two are much more morally ambiguous. Wrestling with that ambiguity over the course of this film makes it a truly engaging and thought-provoking experience.

Overall, I was delighted by this movie. There were moments when it got a bit maudlin, but I found myself moved and charmed and thoroughly swept away by all the performances, especially Fraser's quiet but powerful work, where he lets his eyes do most of the talking. It's also simply wonderful to be treated to an original story with fresh perspectives we don't ordinarily get to see in Hollywood movies. More please!

Hamnet: Directed by Chloe Zhao, who adapted the screenplay with Maggie O'Farrell (who wrote the 2020 novel), this is a story set in Elizabethan England that portrays William Shakespeare (Paul Mescal) meeting and falling in love with his wife, Agnes (Jessie Buckley), starting a family, and then, grief-stricken from losing his son, Hamnet, eventually writing his tragic masterpiece, Hamlet.

This movie is a technical masterpiece. The production design by Fiona Crombie is unparalleled, capturing Shakespeare's England in vivid and striking detail alongside Malgosia Turzanska's beautiful costumes, while Zhao's direction manages to be both sweeping and intimate, full of gorgeous, dappled shots of nature, and then long close-up shots of her actors, who are delivering performances of a lifetime. Unsurprisingly, Mescal and Buckley are brilliant in this film, particularly Buckley who lets that marvelously mobile face of hers take us on an emotional rollercoaster. But even the child actors are superb, especially Jacobi Jupe as the young Hamnet, who has to convey rather deep and serious emotion over the course of this film. In a lovely bit of casting, his older brother, Noah Jupe, plays the character of Hamlet in the performance of the play that takes up the finale of the movie.

All that being said, this movie left me cold. It feels churlish to say so, but it was too perfect and polished. I loved the novel, but that meant I knew the story already, and again, while the movie is a perfect adaptation, nothing felt original or particularly fresh about it. There also was a rather unfortunate choice during the most powerful scene that completely took me out of the movie. There is a music cue that is not original - it's a beautiful piece of music that I recognized from another movie, and it has recently been deployed in other films and TV shows anytime the creators really want to tug at your heartstrings. That lack of originality, while still using a technically perfect piece of music for the scene, was the final straw for me. This is a great movie, and I don't begrudge it any awards, especially for Best Production Design or Best Actress, but I left the theater wishing it had touched my heart more.

July Movies Part 3: Eddington & KPop Demon Hunters

I can't think of a blog post where I have reviewed two more different movies. Settle in readers, it's gonna be a wild and bumpy ride!

Eddington: Written and directed by Ari Aster, watching this movie is like reading a David Foster Wallace novel (or what I imagine that must be like, since I have never read one). It's long, winding, and pompous, and doesn't seem to have any kind of point. 90 minutes into this movie, I thought it was fantastic and one of the better things I'd seen in 2025. But then, it went on for a whole other hour, and by the end of it, I was thoroughly fed up with this meandering mess of a movie.

Joaquin Phoenix and Pedro Pascal star as Joe Cross and Ted Garcia, the sheriff and mayor of a fictional small town in New Mexico called Eddington. The movie begins in May 2020, so we're right in the middle of pandemic panic and a new mask mandate, that the liberal mayor has fully embraced, but the conservative sheriff is completely against. The two of them have a past, and now their political differences are fueling even more resentment and angst. Emma Stone plays Joe's wife, Louise, a woman who is suffering from mental illness and unable to put up with her husband's drama, while her mother, Dawn (Deirdre O'Connell), is living with them and filling Louise's head full of online conspiracy theories. That's not going to end well.

The first 90 minutes of this movie perfectly capture the craziness of 2020, and the heightened anxiety, anger, and anarchy that seemed to fill every waking moment of our lives. There's also a look at the protests following George Floyd's murder, and some rather humorous commentary on white teens trying to support the BLM movement without any clear action plan. It's a perfect time capsule of that moment in history. But then things take a violent and bizarre turn and escalate into a horror film that is simply exhausting and relentless to watch. There's no point to any of it, and it has nothing interesting to say, which is a huge disappointment considering how well it all began. Who is this movie for? Certainly not me.

KPop Demon Hunters: Directed by Maggie Kang and Chris Appelhans, who also co-wrote the screenplay with Danya Jimenez and Hannah McMechan, this is an animated movie about a K-pop girl group called Huntr/x that are world famous for their singing ability, but are also secretly using the power of their voices to create a protective barrier that keeps demons from invading the human world. So yeah, this movie is nothing like Eddington.

Unless you're living under a rock, you're probably aware that the songs from this movie are currently blowing up the global music charts and people are listening to these songs on repeat. The songs are extremely catchy, and while I can't say I was a fan of all of them, I'm certainly humming a couple of them and doing the little shoulder dance to "Soda Pop" as we speak. The animation is gorgeous, and while the plot is fairly straightforward (well as straightforward as a movie about K-pop stars hunting demons could be, I guess), this is a movie that's executed with flair and panache. And it's only 100 minutes long, so it goes down easy, and you're never bored for a minute of that runtime. 

KPop Demon Hunters is an unusual movie because the premise is so wildly unexpected and unique. And yet, it still manages to be a predictable and tropey animated movie that makes for a great comfort watch. So, hop on the couch and fire it up on Netflix. You'll be bopping along to some great tunes in no time. And then you'll be jonesing for a visit to your closest Korean bathhouse.

June Movies Part 1: On Becoming a Guinea Fowl, The Phoenician Scheme, The Penguin Lessons, Mountainhead

I have a long list of movies I have yet to see this month, but I've still managed to watch a lot of other random ones. Eclectic mix of reviews incoming...

On Becoming a Guinea Fowl: Written and directed by Rungano Nyoni, this is a Zambian movie about a woman named Shula (Susan Chardy) who discovers the dead body of her uncle lying on the road when she's driving home from a party one night. She seems strangely unfazed by this and goes through the motions of calling up her family and the police, navigating all the bureaucracy of getting this matter sorted out. What follows are the various funeral arrangements, involving Shula's mother and many aunties, aka the sisters of this dead man. Everyone is insisting that Shula grieve and show more emotion, but she seems to just be going through the motions, alongside her cousins, Nsansa (Elizabeth Chisela), who seems to be perpetually drunk, and Bupe (Esther Singini), who is suicidal.

If you haven't pieced it together yet, the nieces are not mourning dead Uncle Fred because of...reasons. And yet this movie is a very dark comedy, an insight into the patriarchy, and the many ways in which older generations of women will still try to protect men, while the younger generation are trying to break a vicious cycle. It's a very vibey film, but I had never seen any movie set in Zambia before, so it was extremely engaging, along with its many parallels to my experiences with Indian funereal customs...and the patriarchy, of course. Give it a shot if you want to immerse yourself in something completely unique and strange, but obviously, trigger warnings abound.

The Phoenician Scheme: Written and directed by Wes Anderson, this movie is exactly what you would expect (or at least, it's what I expected). I find it increasingly hard to talk about Anderson's films because they just all seem to blend together into one big twee art project featuring a lot of famous actors delivering nonsensical dialogue or running around like they're in a Benny Hill sketch.

In this one, Benicio del Toro stars as Zsa-Zsa Korda, a rich man in 1950 who decides to name his daughter, Liesl (Mia Threapleton), who is a nun, as his sole heir. Together, they must travel the world and meet various investors to help fund Korda's morally dubious Phoenician scheme. And of course, along the way, maybe this estranged pair will build a proper familial bond. It's all very weird, it's a string of silly vignettes, and I didn't much care for it. But I must stress, I am entirely too jaded to properly review Anderson's movies anymore - my husband thought this movie was wonderful and a return to form. So, if you're a fan, perhaps this movie will perfectly scratch an itch for you. But if you're too tired of "auteurs" like I am, give it a miss.

The Penguin Lessons: Written by Jeff Pope, based on the memoir by Tom Michell, and directed by Peter Cattaneo, this movie stars Steve Coogan as Michell, an English teacher who decided to teach at a boy's boarding school in Argentina in 1976 when they were in the midst of a coup d'etat. During a holiday in Uruguay, he rescues a penguin who was caught up in an oil slick on the beach, and then proceeds to smuggle it back to Argentina. What follows is a heartwarming story about how a grumpy old Englishman learns to become more empathetic as he is forced to engage with this penguin. And also learns to maybe stop being politically neutral while the Argentinians around him are being abducted and tortured by their government? 

The tone of this film is all over the place, but it's certainly charming enough to stream over an afternoon, particularly if you're into cute penguins. But there's something decidedly colonial about the proceedings, with a classic "white people are shocked to learn how the rest of the world operates" aesthetic. Coogan delivers a good performance, and the movie is certainly intriguing since it is based on a true story, but beyond that, it lacks any real substance.

Mountainhead: Written and directed by Jesse Armstrong (aka creator of Succession and Peep Show - talk about range!), this is a bleak movie about four tech billionaires (well one of them only has millions), who convene in a snowy mansion in Utah to talk about how they might take over the world. Steve Carell, Ramy Youssef, Cory Michael Smith, and Jason Schwartzman star as four Silicon Valley dudes modelled after the likes of Thiel, Musk, and Zuckerberg, who are of course convinced of their own inherent genius, and blithely ignore all the chaos their technologies have wreaked upon the world. At the moment they're meeting, the world is particularly rife with misinformation and anarchy, all spurred on by the fake videos and messages being circulated on a social media platform one of them owns, and what follows is a hodgepodge of tech speak and insanity.

This is probably a good movie for those of you who are massively online. But depending on your politics, you will love this movie for very different reasons. As you can imagine, I did NOT enjoy this movie, as it depicts the very reasons why I am not massively online and do not care for tech bros. It's the darkest of comedies, and practically a horror film. It does a brilliant job of capturing that painful Silicon Valley tech speak and how these men want to optimize their lives and think that they are the only ones who know how to run the world. It's the epitome of Move Fast and Break Things, and after you watch this movie, you'll certainly feel like your brain got broken!

May Binges Part 2: The Studio, The Royals, Etoile, Your Friends & Neighbors

Are you back for more binges? I've got plenty of recommendations, let's go!

The Studio: Every week, I would desperately await the next installment of this show, and every week, it never disappointed. Created by Seth Rogen and Evan Goldberg, this is a show about what happens when Matt Remick (Rogen) becomes the head of a major film studio in LA and had to now start making uncomfortable decisions between making the artistic cinema that he loves or a big commercial blockbuster about the Kool-Aid Man. Hey, no one said capitalism was easy.

Every episode is a standout in its own unique way, and each one features a murderer's row of cameos. Martin Scorsese shows up in the first episode and gets to do some acting; it's kind of amazing. My personal favorite is probably Episode 2 which is entirely filmed like a one-shot and is about how Sarah Polley is trying to film a one-shot for a movie that Matt keeps interrupting, and it's all so meta and silly and glorious. This is a marvelous show for people who love movies but also love to mock studio executives. The cast is incredible, featuring powerhouse performances from Kathryn Hahn, Catherine O'Hara, Ike Barinholtz, and Chase Sui Wonders, and now you can just binge it all in one big gulp. How lucky are you?!

The Royals: Created by Rangita and Ishita Pritish Nandy, this show is a Bollywood extravaganza that is way too over-the-top and inane. I ate it up with a big ol' spoon. 

Ishaan Khatter stars as Aviraj "Fizzy" Singh, a young prince who has been modelling and avoiding his family in India, but has to return when his father dies, only to discover that he has been named his father's heir instead of his older brother, "Diggy" (Vihaan Samat). Turns out the estate is massively in debt, so the family decides to strike a deal with a company that wants to turn their palace into a hotel where ordinary folks get to live alongside the royal family and get a taste of that royal life. The company's CEO is a feisty and ambitious woman named Sophia Kanmani Shekhar (Bhumi Pednekar) and of course, she and Fizzy butt heads and hate each other at first, only to end up in a tempestuous romance after. As you can well imagine, there are lots of side plots and complications. and all of it is a soapy, dramatic, silly, spectacular delight. Set in Rajasthan, the production design is elaborate and gorgeous, and the actors are fully committed to the silliness, so what more could you ask for? It's not high art, but it is total entertainment.

Etoile: If high art is what you seek, Daniel and Amy Sherman-Palladino have you covered with this show. The premise is that two struggling ballet companies in New York and Paris decide to swap some of their dancers and staff for a year as a stunt to boost ticket sales and generate some buzz. Luke Kirby plays Jack McMillan, who runs the New York Metropolitan Ballet Theater, while Charlotte Gainsbourg play Genevieve Lavigne, the artistic director of Le Ballet National. Lou de Laage also stars as Cheyenne, the etoile, aka prima ballerina of Le Ballet National, who Jack snags for New York. She is highly temperamental and opinionated, but the pain of dealing with her volatile personality is worth it when you watch her perform on stage.

There are many side characters, romantic entanglements, complications, and digressions about art. All accompanied with that trademark Sherman-Palladino dialogue that we know well from Gilmore Girls,  The Marvelous Mrs. Maisel, etc. I have been to the ballet at Lincoln Center many times so it's also wonderful to get a peek behind-the-scenes, with many of the actual dancers from the New York City Ballet being featured throughout this show. The production design is impeccable, the acting is off the charts, and the choreography is sublime. I absolutely luxuriated in all eight episodes of this show, and the second season cannot come soon enough.

Your Friends & Neighbors: Created by Jonathan Tropper, this show stars Jon Hamm as Andrew "Coop" Cooper, a man whose life is falling apart in every possible way. He got divorced after he found his wife sleeping with his best friend, and then he subsequently got fired from his high-powered hedge fund job. He and his family were accustomed to a certain lifestyle, and Coop is now scrambling to keep up with the payments for all the bougie things that have becomes necessities, like private school, tennis lessons, and country club memberships. One day, he realizes that because he and his friends all live in a gated community, everyone is very lax about security, and he could probably make a lot of money if he selectively stole from his friends. These people just stash priceless heirlooms in random drawers and forget about them, so no one will even realize they've been robbed. What could possibly go wrong?

Well, you guessed it, a lot goes wrong. Ultimately, this is a show about how money can't buy happiness, and the many ways in which people who try to keep up with Jones's will remain in a never-ending spiral of debt and unhappiness. Coop partners with a local housekeeper, Elena (Aimee Carrero), and the episodes where we get to learn more about her life and the stark contrast it makes to that of her employers are always great to ground this show and make it clear who the real villains are. The cast, featuring stalwarts like Amanda Peet and Olivia Munn, is fantastic, and the overall plot is compelling and kept me invested through all nine episodes. It was well-paced for a weekly offering, but might be too bloated for a binge, so I do recommend you savor this one over a period of time, doling it out to yourself like a little treat when you need a dash of mystery and intrigue. Or just want to mock some rich people.

May Movies Part 3: The Wedding Banquet & A Nice Indian Boy

Want a great way to either celebrate the end of AAPI Month or the beginning of Pride Month? Watch two cute movies about queer Asians getting married!

The Wedding Banquet: Written by James Schamus and Andrew Ahn (who also directed), based on the 1993 Ang Lee movie of the same name, this is a movie about two gay couples who are close friends and are about to become a lot closer. Lee and Angela (Lily Gladstone and Kelly Marie Tran) are trying to have a baby via IVF and facing biological and financial challenges. Meanwhile, Chris and Min (Bowen Yang and Han Gi-chan) have been together for years but still haven't made a solid commitment. Min is from a rich, traditional Korean family, and while he has been in the US all this time on a student visa, it's about to expire, so his conservative grandfather is threatening to cut him off from his trust fund unless he joins the family business. Min initially proposes to Chris, but for reasons, everyone decides it would be a better idea for him to marry Angela instead. It's convoluted, but it all makes sense. Kinda.

Youn Yuh-jung plays Min's grandmother and delivers a standout performance as an older Korean woman who has always known her grandson is gay and will now try to help him out of his predicament. A lot of hijinks and misunderstandings ensue, but you can rest assured that at the end of the day, this is a sweet tale about found family and how queer friends can come together to support each other. It's a charming movie with a great cast, and while it's fairly predictable, it's a nice, gentle watch, particularly if you have been watching nothing but gory action movies for the past month.

A Nice Indian Boy: Directed by Roshan Sethi and written by Eric Randall and Madhuri Shekar, who adapted it from Shekar's play, this is a cute little love story about what happens when a lonely Indian-American man named Naveen (Karan Soni) falls in love with a white man named Jay (Jonathan Groff) and has to introduce him to his parents. Jay was a foster kid who was adopted by an older Indian couple, so he is well-versed in Indian culture, but he is still white, which comes as a shock to Naveen's parents (played by the delightful Zarna Garg and Harish Patel), who were expecting Naveen to bring home "a nice Indian boy" after he told them that he met Jay at the Hindu temple. Oops.

There's not much plot here, but it's a heartfelt romance that delves into culture clashes, family dynamics, and Bollywood. It also astutely comments on the differences in Asian families between mothers and fathers - Naveen's dad is very uncomfortable discussing his son's sexuality, while his mom watches queer shows on TV in an effort to keep up with her son's life. I was surprised that Naveen was even out to his parents to begin with, but it's a half-hearted coming out, where he just told them he was gay, and then never discussed his life with them after that. That really tracks for most immigrant children. There's also a great parallel with his sister Arundhati (the lovely Sunita Mani), who was a good Indian daughter who had an arranged marriage and is now annoyed at all the acceptance and leeway her brother is getting from their parents. This movie is nothing revolutionary, but it will certainly bring a smile to your face, and sometimes, that's all you need.