The swashbuckling comedic action-adventure sub-genre featuring a macho man saving a high-profile damsel in distress seems like a dated idea. It’s possible for filmmakers and storytellers to modernize this premise (The Lost City as a recent example), but to leave this two-dimensional dynamic at its infant stages for most of the movie feels like a no-win risk. If this is generally agreed upon, then pardon me for the switcheroo: I had a lot of fun with…
Promising Young Woman is a provocative call to arms that’s both committed to its cause and impossibly funny. It’s one hell of a feature-length debut from writer/director Emerald Fennell, who has previously acted on the UK’s Call the Midwife and Netflix’s The Crown, as well as wrote for AMC’s Killing Eve.
The Little Hours fuses arthouse cinema with modern comedic stylings borrowed from Judd Apatow’s toybox. In other words, it’s a film with lovely cinematography and patient pacing, yet features bawdy behaviour and provocative profanity.
No Stranger Than Love is known around the Wylie household for its unofficial working title I’ve coined – the ‘Alison Brie Hole-in-the-Floor’ movie. However, the only memorable aspects of Nick Wernham’s rom-com are those two details – the former Community actress and the bottomless pit that randomly sprouts in her living room and gobbles up a promiscuous co-worker (Colin Hanks).