ANORA

Directing: A
Acting: A+
Writing: A
Cinematography: A
Editing: A

It’s so rare, and so deeply satisfying, when a movie actually lives up to the hype. Anora is everything it promises to be and more.

It’s also very much a riff on the 1990 romantic comedy Pretty Woman, a movie as beloved as it is quite rightly criticized as a vapid look at sex work. Anora takes the concept of a rich guy who woos a sex worker with the promise of riches in exchange for exclusivity, and makes it grittier, more real, with both more authentic joy and more authentic sorrow. Instead of a high-end Beverly Hills escort played by Julia Roberts, we get a no-nonsense Brooklyn exotic dancer played by Mikey Madison—who is a revelation in the role.

And in the case of Anora (Ani for short), the fairy tale begins to crack fairly early on. She’s on the job when she meets Ivan (a stupendous Mark Eydelshteyn), a young Russian man with money to burn. He buys a lap dance, then invites her to his giant home, and within days he’s asking her to be his “boyfriend” for a week. Within that week, he proposes to her, convinces her he’s serious, and flies her with some friends to Las Vegas, where they do indeed get married,

This is all extended setup, and it last probably a good hour into the movie: Ani being taken in by a whirlwind fantasy life moving so fast she doesn’t even have time to consider whether it’s too good to be true. All the while, Ivan has an irresistibly sweet, youthful exuberance that is easily mistaken for innocence. It’s just as easy to be taken in by it as a viewer as it is by Ani as a character, which is testament to Eydelshteyn’s performance.

It’s when Ivan’s parents catch wind of this marriage that things take a turn. He is visited by two men we would reasonably read as henchmen, working for Toros (Karren Karagulian), the handler hired by Ivan’s parents. But Garnick (Vache Tovmasyan) and Igor (Yura Borisov) get far more than they bargained for when they come face to face with Ani, who is having trouble processing the idea, suddenly presented to her, that her marriage is a sham.

This turn in the plot, though, would in just about any other movie get scary and violent. Garnick and Igor, as it turns out, are not interested in violence—only in getting Ivan and Ani to sign paperwork to annul their marriage. It’s Ani who turns out to be unexpectedly wild, a young woman with ample experience not taking anbody’s shit, and she’s the one who get surprisingly violent. This is an extended sequence in Ivan’s house, and it is hilarious.

Garnick and Igor have such trouble containing Ani’s outbursts—which, to be fair, are reasonable under the circumstances—that Toros is forced to leave the performance of a baptism to assist. He’s astonished at how beat up Garnick and Igor are when he arrives at the house, and instead of being on board with Ani being tied up like he would be in most movies, he’s aghast. The other two struggle to convince him it would be a mistake to untie her.

Writer-director Sean Baker has made easily his best movie since his masterful 2015 breakthrough Tangerine. I wasn't quite as huge a fan of his next two films, The Florida Project (2017) and Red Rocket (2021), which were both very good but not quite as incredible as many other critics asserted. With Anora, Baker adds to a truly impressive body of work and, so far at least, makes possibly his crowning achievement. It’s beautifully shot, beautifully acted, expertly edited, and its sexual frankness only adds to its quality.

It doesn’t take long to find online discourse about whether Anora is “feminist,” which misses the point. This is not what the story is concerned about, but rather with telling a nuanced story of a stripper who is neither ashamed nor explicitly proud of her job. She’s just matter-of-fact about it, about the line of work she’s in, and even about the clear talent she has (and yes, pole dancing takes talent). I would argue that alone is a feminist take.

Anora exists in a fully realized world, which is both very specific and something you can’t look away from. And this is Ani’s story from start to finish, Ivan much more a part of it in the first half than in the second, during most of which Ani, Toros, Garnick and Igor are searching the city for him. Igor in particular proves a surprisingly tender character for someone clearly meant to be a villain, and how he relates to Ani over time evolves organically until he plays a part in the closing scene of the film that is bittersweet at best and tragically sad at worst. In either case, he’s the one character who offers Ani any truly genuine intimacy.

There’s a lot of sex in Anora, particularly in its first half, when Ani is falling in love with Ivan. The fantastic trick Sean Baker pulls off is that it’s never gratuitous, at least not in the context of storytelling—not even when Ani gives a kind of performance in Ivan’s living room usually reserved for a private room at the strip club. In every case, it moves the story forward, and has a refreshing frankness about how sex plays an undeniable part in people falling for each other.

There have been many characterizations of Anora as “Pretty Woman meets Uncut Gems.” I would push back a bit on that characterization, as Uncut Gems is an unbearably tense and stressful portrait of a gambling addict you’re desperate to see make the right decision even once and he never does. Anora gets somewhat similarly frantic in its second half, but it’s far funnier and nowhere near as stressful. What it does do, on the other hand, is end with a couple of extended, quietly profound scenes that really drive home the inability of Ani to escape the trappings of her social and economic class, no matter what gets disingenuously promised to her.

Anora is a movie that passes no judgment on any of its characters, even while plenty of them—especially Ivan’s parents–are passing judgment on her. Mikey Madison is a star among stars in this movie, all of them giving unforgettable performances, and this is a stellar movie I won’t soon forget,

The promise may be too good to be true but this movie isn’t.

Overall: A

FALLEN LEAVES

Directing: B
Acting: B
Writing: B
Cinematography: B-
Editing: B

Fallen Leaves is reveiving virtually universal acclaim, and I’m over here thinking: I must be missing something. It’s fine, but with all due respect, it has yet to strike me as being something particularly special. This is a very simple, surprisingly short (81 minute) tale of two middle-aged people awkwardly falling in love.

This film is being billed as a “romantic comedy.” Romantic, I can get on board with it being. I got a light chuckle out of it maybe three or four times. Otherwise, I’ll concede that Fallen Leaves has a unique sort of sweetness to it. This is about two people who lead very solitary lives, one a little more content with the solitude than the other. They meet at a karaoke bar, and in this particular scene, I did enjoy the furtive glances back and forth between a man and a woman who seem subtly taken aback by how attractive they’re finding each other.

We never learn the names of the characters, but Ansa is played by Alma Pöysti, who is 42; and Holappa is played by Jussi Vatanen, who is 45. Curiously, the story seems to be set over-so-slightly in the future: after getting fired at her supermarket job for taking expired food, Ansa is seen in the kitchen of a bar where she’s hired as a dishwasher, and a 2024 calendar is seen hanging on the wall. This might seem an insignificant detail given how close we are indeed now to 2024, but for the many scenes in which Ansa’s radio plays news reports of Russian attacks in Ukraine.

I had difficulty ascertaining the point of these news clips, in the middle of a love story between two people in Helsinki, Finland. Granted, Finland is the scandinavian country—indeed, the European country—with by far the longest border with Russia. But, there is no political element to the story here otherwise, and if there were supposed to be some symbolic element to these news briefs of war, they sailed right over my head.

Furthermore, the performances across the board are rather flat, muted, almost monotone. This was clearly a deliberate choice, something that happens in a lot of independent and/or foreign films. I wonder how this film is playing in its native Finland. Critics in America are loving it. Am I just jaded after being in my own relationship after twenty years? I’m inclined not to think so, but I’ve been known to be off base about things.

Holappa is a heavy drinker. Ansa doesn’t much care for it. Before they confront that issue, far more minor things occur that result in persistent missed connections: Ansa’s written phone number falling unnoticed out of Holappa’s pocket. Ansa’s playful but ill-advised decision to wait until their second date to tell Holappa her name. They both get fired from their jobs, although Holappa’s drinking is a good reason for it.

That’s not especially a spoiler. There aren’t any major plot turns in Fallen Leaves, which is appealingly unsophisticated in its execution. There’s not a lot to unpack here, really. Nor is there much in the way of emotion. Some movies are wildly emotionally manipulative; Fallen Leaves is the antithesis of that approach. Some might argue that this beautifully underscores the very simple love story at play, one about two people finding love much later in life than most people do. I would argue that this is just a pleasantly simple, straightforward love story and there doesn’t seem to be any more to it than that.

Yep. That’s about all that’s going on here.

Overall: B

WHAT HAPPENS LATER

Directing: B
Acting: B+
Writing: B+
Cinematography: B
Editing: B+

For a split second I found myself thinking: wouldn’t it be great if Tom Hanks had been cast in this movie with Meg Ryan? But then I got a few minutes into What Happens Later, Meg Ryan’s second directorial feature film and her first film acting role in eight years, and I realized Tom Hanks wuold have been horribly miscast in the part. For the character of Bill, a man who displays a playful cynicism, David Duchovny is perfectly cast. We can just hold out hope for a another pairing of Meg and Tom in some other movie before they die.

In the meantime, Ryan and Duchovny have fantastic chemistry, and it’s great fun to see them onscreen together, in a film that charms in a way few romantic comedies manage. Some might find What Happens Later to be too cute for its own good, and those people might have solid arguments. Personally, I rather enjoyed it, and found this movie to exceed my expectations.

Granted, Meg Ryan’s direction does eventually take us to a few moments a little too deep into the “magical thinking” that Bill consistently scoffs at, particularly in a scene where Bill and Willa (Ryan) take turns shouting at the universe from inside a snowed-in regional airport. The two characters have indeed endured a long series of irritations up to that point, but the level of outburst on both their parts feels unearned.

Such a moment is just a temporay speedbump, however, in the infectiously engaging dialogue that otherwise permeates What Happens Later, co-written by Ryan, Kirk Lynn, and Steven Dietz, the playwright upon whose 2008 play, Shooting Star, is based. It’s always a delight when a film based on a play actually works, and this one works so well as an adaptation, with filming locations in an actual airport, that it’s difficult to imagine it working as well on a live stage.

Ryan and Duchovny are both casually naturalistic performers, and are thus quite believable as a couple of aging, sometimes cranky ex-lovers who run into each other during passing layovers at the same airport. Usually romantic comedies are amusing at best, not eliciting a lot in the way of genuine laughter, but I laughed more than usual at this one—largely on the strength of its two lead performers. Well, them and the third of only three speaking parts in this film, the airport announcer (“Hal Liggett,” a credit apparently a pseudonym), who consistently respoonds to Bill and Willa’s questions in subtly funny ways.

Holing an audience’s attention for an hour and 45 minutes with only two characters is no easy task, but What Happens Later makes it seem easy. I had a lovely time just hanging out with these two, and appreciating the telling of a story like this with older actors. Although we learn that they had been in a serious relationship in their twenties, we never do learn their current age, although there is a sarcastic reference to Bill being “well into my fifties.” The two actors are in their early sixties, both looking their age and looking good—a rare Hollywood combination.

Ryan, for her part, plays a character less flightly than in her previous romantic comedy parts, in spite of Willa the character being, as Bill puts it, into “magical thinking,” putting her faith in “woo woo,” unscientific ideas. But, at her age, Willa is also hardened a bit, worn by the ups and downs of life, as is Bill, and the two characters catch up on the decades they’ve missed in each other’s eyes, as well as reexamine their previous relationship with each other, what worked about it and what didn’t.

In a fairly refreshing way, What Happens Later—a title that is both frustratingly vague and perfect for this story—ends without the typical burst of romance that ends most romantic comedies. It still ends on a charming note, with a bit of hope for these two and their connection to each other. I’d say it gives me hope for the movies, except that I was literally the single person watching it in the movie theater—because, these days, this is the type of movie audiences see no need to eventize in cinemas. Which is to say: this will be one to watch for when it hits a streamer near you.

It’s a good time just hanging out with these two.

Overall: B+

BROS

Directing: B
Acting: B
Writing: B
Cinematography: B+
Editing: B+

I really wanted to love Bros. And I did like it—it even made me laugh more than most comedies do. And I am a genuine fan of Billy Eichner, his overt obnoxiousness on Billy on the Street being a definitive part of his brand and appeal. And Bros is made for people who love romantic comedies, and even quite knowingly moves through all the same beats as any mainstream film of the genre. This is a film made for everyone lamenting the decline of romantic comedies, and it manages to scratch that itch by being just as serviceable a specimen as any other.

I just wanted it to be better than “serviceable,” which is, admittedly, a tall order. How many “great” romantic comedies are there out there, really? When Harry Met Sally… (1989) is arguably the best ever made; Four Weddings and a Funeral (1994) seems largely lost to history and now rendered criminally underrated (seriously, if you’ve never seen that one, find it and watch it). Moonstruck (1987) is a straight up masterpiece. How long has it been since another romantic comedy came even close to the quality of these examples? Even the American Film Institute’s top 10 romantic comedies lists nothing more recent than 1993 (and Sleepless in Seattle is fun, but, if that makes the top ten of all time? this is not a genre known for most people’s best work).

How does Bros compare within a 21st-century context, then, which, frankly, lowers the bar? Four years ago Collider compiled a list of the best romantic comedies of the 21st century, and a lot of them are better films. The crucial difference with Bros is, of course, that it centers a same-sex couple instead of a straight one. And a whole lot has been made of how that breaks new ground, this being “the first American gay romantic comedy from a major studio featuring an entirely LGBTQ principal cast”—which is, it must be said, a lot of qualifiers. After all, Fire Island was already released this past spring, and it fits all but one of those same qualifiers, the only difference being it was released on Hulu. And that movie is certainly as good as Bros; some might say it’s better (on average I liked them about the same, for slightly different reasons) and they would have solid arguments to stand on. Hell, that one stars Bowen Yang as one of the principal characters, and he’s also in this movie.

And not for nothing, but Fire Island has a leg up on Bros in that its principal characters are mostly people of color. Bros is a little self-conscious about its “diversity casting” (a loaded term if ever there was one) while never directly addressing how it still centers white characters—which in itself is not necessarily something to criticize it for, except for how it quite blatantly “checks all the boxes,” or at least all the boxes it can, in its supporting cast. Eichner’s Bobby character is the Executive Director of an LGBTQ+ museum (was it absolutely necessary for him to the the Executive Director?), but the rest of his Board consists of two trans women (one White and one Black), a Black non-binary person, a White bisexual man, and a White lesbian. This is a knowing nod to the obsession with “covering all the bases,” like the self-conscious diversity of models on a college brochure, while still managing to actually check a lot of the boxes. (Incidentally, this Board does not include any people of color who aren’t Black, nor does it have any intersex or asexual people—which, I would bet anything, it would if the movie were made another ten years from now.)

The museum itself is a clear way for the film to “educate” viewers on queer history, which I have mixed feelings about. On the one hand, this aspect of Bros did not teach me anything I didn’t already know, which made it feel kind of like a movie made to educate straight people. On the other hand, plenty of queer people also don’t know their own history, and if this movie teaches them anything at all, I’m not going to complain about that. That said, Eichner has so many extensive monologues in this movie—this guy talks, and talks—that a lot of the time, in the museum scenes, he’s throwing out so much information so fast that it often feels, again, like checking off boxes.

Bros opens with one of Eichner’s monologues, by the way, his being a podcast host (of course) offering an excuse for an introduction consisting of a large amount of voiceover. This opening bit kind of goes hard, though, which Eichner’s delivery that’s both rapid and extensive, and I got a little stuck on the idea that a solo podcast host, who evidently doesn’t even have guests on, would be a wildly popular one with a million subscribers. Bros barely gives an indication of the basic premise of his podcast (again, queer history), then mostly shows him waxing poetic about his frustrating sex life, what it’s like being gay these days, or answering live listener calls. Why the hell would so many people be listening to this?

It should be noted that Bros may be a gay story in which all the queer characters are (quite pointedly) played by queer actors, and all of that is indeed stuff to be proud of. But the director, Nicholas Stoller, is not gay, and I think this actually makes a difference, Eichnier having co-written the script with him notwithstanding. (Side note: Fire Island was directed by Andrew Ahn, an openly gay Asian American man.) There’s been an element of a lot of the press and buzz for Bros that feels a lot like straight guys patting themselves on the back for helping their queer friends get their movie made. And it’s not to say they have no reason to be proud of this movie, but there has been this widespread industry expectation that the movie will be a hit, and its opening weekend earned 40% less than projected. There is already hand-wringing about whether this means audiences aren’t “ready” for a movie like this, but there remains the possibility that the film just isn’t as great as everyone who made it thought it was.

And I know I’ve spent a lot of time picking it apart here, but I must stress that I did enjoy this movie. The more salient point is, I enjoyed it about as much as any average romantic comedy—the key word here being “average,” although I would even say this was above average, not that there’s a high bar there either; it doesn’t take much for a romantic comedy to rise just slightly above mediocrity. And to be fair, there’s a lot of things I did love about Bros, not least of which was its acknowledgment of how gay relationships are actually different from straight ones (yet no less valid); its sex scenes just as frank as any in a romantic comedy about straight people; and its unusually honest depiction of day to day queer life. (Although, and I’m sorry for constantly making the comparison in spite of its inevitability, Fire Island has a lot more casual drug use. Bros does depict the use of poppers in a sex scene, though, treating it as just a normal part of it, which for many it is.)

Plus, Bros does have a lot of very effective punch lines, and I laughed a good amount at it—albeit a little further into the film than I would have preferred; that opening sequence with the podcast-host voiceover really had me worried the movie would be actively bad. Thankfully, although there are many valid criticisms, the movie is actively good. And to be fair, it’s not trying to be anything it isn’t, either; the film itself doesn’t seem to think it’s any paragon of cinema, and only tries to offer what fans of romantic comedies want. And by and large, what those fans want is something of a specific formula, which this very much is.

Eichner’s love interest is Aaron, played by Luke Macfarlane, a guy largely known for Hallmark Channel romantic comedies—so, another example of slightly in-joke casting. Eichner plays a character I would likely find insufferable in real life, but these two men have genuine chemistry, which alone goes a long way toward making Bros work overall. It’s heartening to see even two perfectly attractive men (granted, one is much “hunkier” than the other) struggling to overcome very different insecurities, and sort of tentatively succeeding. Honestly, I would happily watch Bros again, and would likely enjoy it even more a second time, having already gotten the criticisms out of my system and allowing myself just to give into it without intellectualizing what is just meant to be a fun time at the movies. Which, to be fair, is exactly what this is in the end.

It’s unapologetically queer, unapologetically romantic, and unapologetically formulaic.

Overall: B

HAPPIEST SEASON

Directing: B
Acting: B+
Writing: B+
Cinematography: B
Editing: B+

Listen, Happiest Season won me over in a way that I truly never expected, even after about a third of the way into the movie. But let’s get the truly negative out of the way first, because we have to talk about that absolute turd of a title. It bears repeating, because I literally keep forgetting it: Happiest Season? What kind of generic-holiday randomized generator title is that? I hate it. It sounds like a spit balled title place holder that no one bothered to replace.

For much of the first half of this movie, I found myself thinking about how great it is to be getting a Christmas romantic comedy that features a gay couple, and how great it would be to have such a movie that is special enough to be rewatchable every Christmas, and . . . this movie is not it. Except, maybe it is? It pains me to say: probably not. But not because it’s not worthy. It’s because the title sucks. It sounds like the title of the holiday episode of a third-tier network sitcom.

So, please. Please, please, please! Forget about the title. Or wait, strike that. Write the title down! HAPPIEST SEASON. Put it somewhere you can reference it easily, lest you fall victim to how forgettable a title it is. Because this film is absolutely worth watching.

Directed and co-written b Clea DuVall, in her sophomore feature film effort, I’m still not convinced directing is her calling. This was my biggest issue with the film early on, that its direction was adequate at best. Sometimes, however, a script can make up for a lot, and the writing here absolutely does that. Granted, I have a specific bias here: as a gay viewer, I can not only relate to the issues related to coming out to one’s family, but in the end, I was deeply moved by this story. As such, I can see a pretty widely varied response among audiences, depending on their own personal experiences. To be sure, anyone with the slightest capability of empathy, this movie will work. But this movie will also really speak to some people in a way it just can’t to others. And I am definitely among those some people.

Luckily, Happiest Season also has a great cast. The gay couple at the center of it are Abby and Harper, played respectively by Kristen Stewart and Mackenzie Davis. They make a believable couple, although I found Davis’s height occasionally distracting. Abbey’s sisters Sloane and Jane are respectively played by an uptight Alison Brie and a rather funny Mary Holland; stepping into the role of the sisters’ parents are Victor Garber and Mary Steenburgen. We even get Aubrey Plaza as one of Abby’s exes, and best of all, Daniel Levy as Harper’s close friend. This movie would not have suffered without a gay male character to throw a bone to the gay men in its audience, but I sure was delighted to see him, and he provides a good amount of the comedy, without ever quite overdoing it.

In fact, Levy’s character John is essentially the heart of the movie, being the caring friend that every decent person deserves. Abby could use a friend of the same caliber, and does not seem to have one; she’s far too preoccupied with keeping up appearances for the sake of her dad’s campaign for mayor of his town. And this is another thing I love about Happiest Season (ugh, that title!): it breezily sidesteps gay clichés from start to finish: no melodramatic histrionics, and no reducing family members to small-minded caricatures. They aren’t even presented as especially conservative, and when it comes to how scary it can be for a person to come out, this is a key point: the family doesn’t have to be conservative for it to be a frighteningly uncertain prospect.

DuVall, to her credit, offers a great deal of empathy for Abby, even as she basically makes by far the shittiest choices, often to the detriment of her partner. But the broader point is that a person must be ready for such a huge step, and this actually fits perfectly with movies about the spirit of Christmas: the spirit of giving and of goodwill. Considering this is a romantic comedy—albeit one that made me cry much more than expected—it’s no spoiler to say that things work out in the end. The predictability here is immaterial; the very real struggle before such inevitably happy endings is what we are meant to understand. And we are still reminded that not every story is so happy, as told by Harper’s friend John. This isn’t his story though; it’s Abby and Harper’s, and Christmas movies must end with uplift. Happiest Season delivers on that front, in more ways than one.

Just be sure to write that title down so you know what to look for when you go looking for it on Hulu.

You’ll be happy you watched it this season.

Overall: B+

YESTERDAY

Directing: B
Acting: B+
Writing: C
Cinematography: B+
Editing: B-

A movie whose premise hinges on the entire back catalog of The Beatles should really be more clever than this. What we have instead is something written by the writer of Love, Actually (Richard Curtis) and directed by the director of Slumdog Millionaire (Danny Boyle), to create a product of combined influences that is shockingly tepid for something featuring such historically vital material.

The strangest rub is, in nearly every aspect except the story, Yesterday has ample charms. It’s clearly made by competent people, very well shot, and the acting almost elevates the spoken material. Almost. Himesh Patel, as Jack Malik, evidently the only person in the world who remembers The Beates from an alternate reality apparently lost during a 14-second global blackout, gives a winning performance. He’s a talented singer and he plays The Beatles songs well. And the songs, the music — of course, those are always a blast to hear. The movie is really only particularly fun when Jack is playing Beatles songs.

That’s of no fault of Lily James, who is also lovely as Ellie, Jack’s longtime local manager and subject of unrequited love. It’s just that their backstory isn’t that interesting. Before the aforementioned blackout, Jack is a struggling musician who writes his own songs, and his songs are entirely forgettable. The result of being introduced to them as such characters is that, until Jack starts singing “Yesterday” and discovers no one has ever heard of it, their story is entirely forgettable too.

Honestly, even the use of Beatles songs is a hugely missed opportunity. There is so much contextualizing, and investigating of how the meaning of these songs of unparalleled influence might be changed by their never having existed until 2019. Instead, Yesterday keeps it’s focus on how they are widely regarded as the best songs ever written, and on that basis alone, even in 2019 it results in Jack becoming an overnight superstar. I have my doubts as to whether it would really play out that way, and particularly so quickly.

I don’t suppose that matters, for some. If the movie is fun then it’s fun, right? And surely, casual fans of The Beatles will find this movie fun, people who don’t think much about the history and import behind them. But I would consider myself a casual fan of the Beatles, but also a pretty hardcore fan of movies, and I prefer movies make some sort of sense. I don’t require and explanation for every little thing; this movie provides no information whatsoever as to how or why this global, 14-second blackout happens, and I’m fine with that. But I am also aware of the broader history of pop culture and the place The Beatles have in it, and therefore have a desire for an alternate universe in which it doesn’t exist to interrogate more than just how that music brings fame and fortune. That seems to be the only thing about The Beatles that this movie is interested in.

Sure, it has its cute moments. Ed Sheeran plays a significant supporting role as himself, the guy who discovers Jack’s “talent” and helps launch him into fame. Kate McKinnon is an easy satire of money-hungry Hollywood agents. Jack keeps discovering random other things this no longer existing in this alternate reality: Coca-Cola, cigarettes. And to be fair, for many viewers it will be easy to appreciate what this movie is, as opposed to what it should or could have been. I still wouldn’t tell even those people it needs to be seen in a theatre — you can enjoy it just as easily on your streaming service of choice in a couple of months. But I fall firmly in the camp that can only see this movie’s unrealized potential. In a better writer’s hands, it could have been something great, something actually worthy of the buzz it generated when the trailer first started appearing.

You might wonder why that buzz never lasted. Those of us who have seen the movie can easily see why. It’s because even though Yesterday is fine, no movie based on the hits of The Beatles should ever be just fine. They deserve better.

Otherwise wonderful Lily James and Hamish Patel cannot be saved by The Beatles in an alternate reality.

Overall: B-

LONG SHOT

Directing: B
Acting: B+
Writing: B
Cinematography: B
Editing: B+

Long Shot is the kind of movie that can easily be criticized on many merits, in ways that I could even probably agree with, but whatever, I enjoyed it!

The greatest defense I can give it, which is perhaps equal parts fair and lame: this movie delivers on its promise, which is simply that it’s a fun, laugh-out-loud romantic comedy. It certainly has a premise that sets it apart, with Charlize Theron as Secretary of State Charlotte Field, who falls for the speech writer she hires who she also happened to babysit as a kid, Fred Flarsky (Seth Rogen). Granted, it’s not new to set a romantic comedy in the upper echelons of Washington politics (see The American President (1995)), but I can’t recall any other that revolves around the most powerful woman in the world.

Now, okay, yes, it is a bit of a trope to see the stunningly beautiful woman falling for the shlubby man — hell, Seth Rogen himself already did it twelve years ago with Katherine Heigl in Knocked Up, which was about as good as this movie is. And truly, nothing in Long Shot is even remotely realistic.

But, after some introductory scenes that set all the pieces of the plot into position with pretty clumsy contrivances, Long Shot totally won me over. The movie and its audience both get its sea legs, and the charisma of its lead actors, as well as the surprising chemistry between them, conspire to sell the movie as a good time for a couple of hours.

I’ll still nitpick, of course. I like to assume that’s what you’re here for! I didn’t love the character of Maggie (June Diane Raphael), one of Charlotte Field’s key staffers, playing the part of the resentful bitch, going out of her way to sabotage the relationship. I don’t fault June Diane Raphael for taking the part — we’ve all got to pay the rent, and she does well with what bullshit she has to work with — but truly, what purpose does that serve?

And then there’s Fred Flarsky’s best friend, Lance (O’Shea Jackson Jr.), who seems little more than a pawn in an exercise in pandering “both sides-ism.” A black conservative Republican who exists to teach his white best friend about empathy and “seeing things from other people’s point of view”? Are you kidding? I’m not saying no such black people exist — but the idea that he would be best friends with a character like Fred, whose very purpose as a journalist exists to expose the seedy underbelly of Republican corruption and hypocrisy, is a bit more of a stretch.

Okay, so Long Shot is far from perfect. It works, and works well, when it focuses on the relationship between Charlotte and Fred, and how they handle the special political circumstances surrounding them. This includes Charlotte working for a president (Bob Odenkirk) who got the job with no political experience and used to be a TV star. Sound familiar? The clever twist here is that President Chambers, instead of being a reality show host, was previously the star of a TV drama on which he played . . . the president.

There are some elements of the story which, in a pre-Trump world, would have pushed the limits of believability. But, love it or hate it, we now live in a world in which a movie can show a hacked video leak involving semen on a beard does not ruin political career, and you can still think, Yeah, I can see it. (Side note: thankfully, that’s the only bit of gross-out humor involving bodily fluids in the movie.) Now, such a thing not ruining a woman’s political career? That might just still be a little too unrealistic.

But who watches these movies, particularly romantic comedies, for realism? Nobody! That these are fantasies is in their DNA, literally in the script. Long Shot does want to have things both ways in multiple contexts, from its only-occasional nods to rampant sexism in American politics while presenting an arguably sexist story arc, to its eagerness to be accessible to audiences of all political persuasions. These aren’t things that have to tear a movie down, however. I mean, why shouldn’t we all be able to enjoy this movie?

And really, that’s what makes Long Shot work — unchallenging in spite of being set in the world of American politics, it’s basically the very definition of escapism. Generally speaking, it’s escapism done well. I found my heartstrings getting tugged by it, anyway.

They’ll win you over if you let them.

Overall: B

ISN'T IT ROMANTIC

Directing: B
Acting: B
Writing: B
Cinematography: B+
Editing: B+

Isn’t it Romantic wants you to think it’s a meta-send-up of typical romantic comedies, when really it’s a straight-up typical romantic comedy itself. In a way, it’s to its credit that it’s basically unapologetic about it; that’s kind of the point. This is a movie that has it both ways, has its comic cake and eats it romantically too, and basically gets away with it.

There’s also a strange aspect of Isn’t It Romantic, where it has some delightfully irreverent quips that made me laugh surprisingly hard, mixed fairly evenly with an almost slavish devotion to the very romantic-comedy tropes it’s ostensibly poking fun at. It all comes out to an average of general blandness in the end: the gut-busting quips barely falling short of being memorable; the tropes not quite overused enough to bog down the story completely.

To be sure, it’s fun to see an actor like Rebel Wilson as a leading lady, and kind of a kick to see the likes of her learning her lesson about shallowness when she initially pursues a relationship with the gorgeous Liam Hemsworth as opposed to everyman Adam Devine.

Wilson’s character, Natalie, gets mugged on the New York City subway and knocks herself in her attempt to run away. When she wakes up, after having spent most of the work day complaining to her assistant (Betty Gilpin) about how much she hates romantic comedies, she now finds herself in the middle of one. She figures out along the way that she must play the part of a romantic comedy leading lady, right down to her apartment suddenly becoming posh and huge, and being romantically pursued by a beautiful billionaire.

Before Isn’t It Romantic plunges Natalie into this fantasy universe, we are introduced to her living in her crappy Manhattan apartment, with a borderline mangy dog that won’t obey commands, and working in a dingy office as an architect with disrespectful colleagues. Natalie’s “real world” is just as much a part of the fantasy as the movie we’re watching, full of background and back story details that are all just as contrived as any romantic comedy.

The slight bummer of Isn’t It Romantic is its lost potential, and how, when it comes down to it, several of the very romantic comedies referenced by this three-writer script come to mind as definitively superior films to this one. Great romantic comedies are hard to come by, but this one doesn’t try all that hard to be one of them. It thumbs its nose at them with a wink, while riding on their coattails.

The players are all pleasant enough, at least, even if a lot of the scenes come across as a tad under-rehearsed. One thing this movie very much has in its favor is how brief it is — historically, a movie that clocks in at under ninety minutes is a bad sign, and this one is 88. For a movie like this, though, that turns out to be perfect, as far too many romantic comedies drag the story on for two hours and then some, with the humor spread thin as a result.

Isn’t It Romantic has its fun right out of the gate, with an opening scene featuring Jennifer Saunders as Natalie’s mom, who gets one of the funniest lines in the movie. It was apparently inevitable, though, with this movie following a by-the-numbers story arc, for it to sag a bit in the middle. The quips and gags start to dry up; there’s a slight bit of a slog; and then there’s a delightful song and dance number in a karaoke bar.

This movie isn’t quite revolutionary, but it works on its own terms. I just wish its terms aimed a little bit higher.

It’s not as hard to figure out as Natalie thinks it is.

Overall: B

HOME AGAIN

Directing: B-
Acting: B+
Writing: C
Cinematography: B
Editing: B

Home Again had a unique effect on me. I can't think of any other movie that started out inadvertently creeping me out and ended by winning me over with its objectively contrived charms. I can't even think of anyone I would recommend this movie to, at least not fairly. If I wanted to jump right into sweeping generalizations, I'd say that superficial and/or easily entertained middle-aged women would love it. Okay maybe also superficial and/or easily entertained middle-aged gay men.

Everyone else? Not so much. Smug intellectuals and anyone who fancies themselves a movie connoisseur would revel in tearing this movie apart. This movie isn't for them anyway.

Home Again has much in common with Nancy Meyers movies like Something's Gotta Give (2003) and It's Complicated (2009) -- and for good reason: it's written and directed by Meyers's own daughter, Hallie Meyers-Shyer, practically as an homage. I'll give her this much credit: Meyers may be well-known for placing characters in lavishly decorated homes that seem far more expensive than they could possibly afford, but Meyers-Shyer actually lends the impeccable home some real plausibility. Reese Witherspoon's Alice Kinney lives in a gorgeous home left to her by her late dad who was a famous film director. And after all, Meyers-Shyer knows from having a famous film director parent.

The plausibility of the premise is another story. Alice, on her fortieth birthday, meets a blandly handsome twenty-something, Harry (Pico Alexander), at a bar, and takes both him and his two friends home. Harry sleeps in her bed after getting sick before they can consummate a would-be one-night stand, and his friends pass out on living room couches. Before she knows it, Alice's formerly famous actor mother (Candice Bergen, given not near enough to do) is suggesting she allow these "struggling artist" types who are trying to get a movie made to stay a few nights in her guest house.

Harry is a director, and his friends are writer George (Jon Rudnitsky) and actor Teddy (Nat Wolff). Together they form this one-dimensional trio of young Stepford Men whose main quality is that they all embody what every adoring old lady imagines their grandson to be, which is to say, flawlessly wholesome. These guys are always just barely off from how normal humans interact with each other, another writer could really take this into another direction and reveal them to be pod people. Honestly, I don't think Hallie Meyers-Shyer really knows what it's like to be young and trying to make it as a filmmaker in L.A. These kids get all the luck, encounter no grime or starvation, and somehow successfully move in on what in L.A. qualifies as a upper-middle-class family. Anywhere else, Alice would simply be rich.

Somehow, though, even in L.A., Alice has no entitlement complex, and neither do these three young men. That seems left up to the "socialite" played magnificently by Lake Bell, who briefly employs Alice as the fledgling interior designer she's attempting to reinvent herself as.

And that's the thing about Home Again, really: the performances. The material is far too trite for any of it to be exactly Oscar-worthy, and yet all of the seasoned players elevate the material. Meyers-Shyer's writing has serious room for improvement, but Reese Witherspoon hasn't met a single line of dialogue she can't make work. It doesn't take long to start rooting for Alice, even though her problems are so benign. Everyone in this movie is so relentlessly pleasant, not even Michael Sheen as the separated husband can manage to be unlikable. Alice has two young daughters who are, of course, both precocious and adorable.

There are no shitbags in this universe! In Los Angeles. That alone should disqualify the whole movie. But, as the story went on, I found myself won over by this objectively stupid movie, because -- well, that's what well-executed fantasies do. Home Again doesn't present itself as a fantasy, which is one of its many problems. It also has three Millennial men so "decent" they come off as anachronistic. It's like members of the Cleaver family from Leave It to Beaver time traveled to present day but somehow just didn't notice. Although, okay, Harry Cleaver does have sex with a forty-year-old woman. Leave it to someone in the Meyers family to make even that come across as wholesome.

Not that it can't be, mind you. It's just that in the Meyers world, there are no truly deep character flaws -- only minor mistakes the world's exclusively good people quickly learn from. Honestly, nothing about this movie is sensible, except for the idea that a woman can date a younger man and not be judged for it. It's disconcerting to see such a ridiculous story carried by winning performances.

Reese Witherspoon and Pico Alexander make an attractive inter-generational sandwich.

Overall: B-