Category: Film Reviews

Like an 8-hour movie

A look at some TV with movie ties

With The Mandalorian and Grogu putting TV in movie theaters, let’s look at some movie-flavored TV.

The Other Bennet Sister is currently in the final third of its 10-episode run on streaming service BritBox. Whether you’re a fan of the Jennifer Ehle-Colin Firth 1995 Pride and Prejudice BBC miniseries or the Keira Knightley-Matthew Macfadyen 2005 Pride & Prejudice movie, this sequel/sidequel miniseries based on the book by Janice Hadlow is worth a $10.99 one-month BritBox subscription. (The 1995 miniseries is available on Britbox and Peacock; 2005 is available for rent or purchase.) In Jane Austen’s book, Mary was the spinster-in-training sister of the five Bennet girls. Here, the action for Mary (Ella Bruccoleri) really begins after the death of her father. Mary heads to London to serve as governess for her uncle, Mr. Gardner (Richard Coyle), and aunt, Mrs. Gardner (Indira Varma), and she’s introduced to a new circle of family friends.

One of those friends, Thomas Hayward (Dónal Finn), seems as nerdily smitten with Mary as she is with him but he unfortunately has a preexisting “understanding” with the kind Ann Baxter (Varada Sethu). While Mary breaks out of her shell, she still sometimes finds herself trapped in her “the awkward one” persona, especially when she runs into Caroline Bingley (Tanya Reynolds), one-time Lizzy-competitor for Mr. Darcy’s affections. Caroline pours on the mean girl when she realizes that Mr. Ryder (Laurie Davidson), the new fella she has her eye on, has his eye on Mary.

This TV show very much catches the tone of both book-Austen and the beloved BBC series. Bruccoleri, who I probably only knew from her role in Call the Midwife, does a good job of selling both Mary’s initial awkwardness as the quiet one in a family of bigger personalities, and the character’s hero’s journey through the marriage market.

Want more of Mary’s cutie Dónal Finn? Catch him on Young Sherlock, released in March on Amazon Prime Video. Though not necessarily of the Robert Downey Jr. Sherlock Holmes movie universe, it does share those movies’ director, Guy Ritchie, who co-created the show and directed two episodes, according to Wikipedia. Ritchie gives us characters who, in tone at least, could age into the people we meet in Sherlock Holmes and Sherlock Holmes: A Game of Shadows (both available for rent or purchase), particularly when it comes to Finn’s James Moriarty, just a hot-headed student at Oxford here. He seems to permanently wear a bemused smile and encourages young Sherlock (Hero Fiennes Tiffin) in assorted hijinks. Sherlock is sent to Oxford to serve as a porter as a way of keeping him out of trouble — a plan by his older brother Mycroft (Max Irons, son of the Jeremy Irons) to keep his younger brother from messing up his budding government career. Sherlock and Moriarty quickly find themselves tangled up in assorted crimes that all seem to lead to larger conspiracies, and the show has buoyant fun with the various capers and ye olde spycraft. And yes, the Sherlock actor is one of those Fienneses (a nephew of Joseph Fiennes who shows up to play the Holmes boys’ father).

Another TV show running sort of in parallel to its creators’ movie universe, also on Amazon Prime Video, is the eight-episode late May release Spider-Noir, starring Nicolas Cage, who also voiced the Spider-Man Noir character in 2018’s Spider-Man: Into the Spider-Verse (available on Netflix), though the show’s Wikipedia page says that this character is a different version than the one in the movies. Here, Ben Reilly (Cage) is the rumpled 1930s gumshoe who was once the masked crimefighter The Spider. Though he still has web-slinging and spidey-sense abilities, Ben gave up the fight five years earlier when his fiancee was killed. That doesn’t stop his friend, reporter Robbie (Lamore Morris), from trying to convince Ben to get back in the game as the city sinks under the crime and corruption caused by Silvermane (Brendan Gleeson), a mob boss with his fingers in all the pies. All dames and crooked cops and scampy street urchins, this series (which I am a few episodes into) is a fun watch that won me over with its classic detective mystery vibes and its smart deployment of Cage’s whole goofy deal. And you can watch the show in black and white or color — while the color has its charms, I particularly enjoyed the shadows and rich contrasts of the black and white version.

A direct movie-tie-in series is Disney+’s eight-episode Wonder Man, a “Marvel Spotlight” series released in January, which features the character Trevor Slattery (Ben Kingsley), who first appeared in 2013’s Iron Man 3 and later in 2021’s Shang-Chi and the Legend of the Ten Rings. (Both are on Disney+.) Introduced as the terrorist “The Mandarin” in Iron Man 3, Trevor is actually, as Tony Stark discovered, a middling actor who agreed to play the part of the villain in exchange for a good-time mansion and an endless supply of drugs. Here, he meets our hero Simon Williams (Yahya Abdul-Mateen II) as both men are at an audition. Williams, who has just had his small guest part cut from a TV show after he had too many ideas about his role, is desperate for work, especially for a role in the upcoming reboot of Wonder Man, Simon’s favorite superhero movie as a kid. Simon works to convince his agent, the film’s casting director and the film’s director that he can be Wonder Man — while also trying to hide that he kind of is Wonder Man. Because of a tragic (hilarious) incident that led to the disappearance of Josh Gad (gamely playing himself), studios won’t let actual superpower-having people work in Hollywood. The unmasking of Simon’s powers — kind of non-specific, energy-related abilities — is his greatest fear, as it would mean the end of his Hollywood ambitions.

His ambitions make Simon a regular-guy super, not an Avenger wannabe. And his relationship with Slattery — who has his own secrets as well as long-standing actor-y issues, such as his rivalry with Joe Pantoliano (also gamely playing himself) — give this show an enjoyable The Studio sensibility.

Also in the Hulu-verse, you’ll find the just-finished first season of The Testaments, a sequel to the Hulu series The Handmaid’s Tale but a show that, perhaps because of its star Chase Infiniti, feels like it shares some vibes with Oscar winner 2025’s One Battle After Another as well. Like Infiniti’s Willa in One Battle, her Agnes in The Testaments is a teenage girl doing teenage girl things (going to dances, trying to assert some independence from her home life) during weird civil unrest. The Testaments picks up in the alt-America country Gilead, a Christian theocracy that segregates and oppresses women, where Agnes is expected to soon marry and “be fruitful.” A student at a finishing school for the daughters of the elite men of Gilead that is run by Aunt Lydia (Ann Dowd), Agnes is assigned to show the ropes to recent convert Daisy (Lucy Halliday). Or maybe Daisy is meant to spy on Agnes, as her fellow girls at the school warn her. What we in the audience know is that Daisy is a spy — an anti-Gilead plant picked by former handmaid June Osborne (Elisabeth Moss) herself to infiltrate the school.

As the series goes on, we see Agnes develop a kind of steely strength and absolute loyalty to her friends that feels very spiritually connected with the government-fighting rebel-in-the-making that is Willa in One Battle. Infiniti also does a good job of selling the teen-girl-ness of Agnes, who, as Daisy explains in a later episode, has regular teen girl feelings and desires despite the oppressive society she’s growing up in. The relationships between the school’s girls — the ones headed for marriage, the ones who fear they might be left behind — is compelling and keeps you watching even when the Gilead of it all feels too much. (And if you need some “viva la revolución,” One Battle After Another is available on HBO Max.)

Featured photo: The Other Bennet Sister

Is God Is (R)

Twin sisters set off on a mission of vengeance in Is God Is, a film written and directed by first-time filmmaker Aleshea Harris, who has given this movie all the best elements of a first film — including but not limited to energy, style and a willingness to take chances.

Anaia (Mallori Johnson) and Racine (Kara Young) often call each other “twin” in their conversations, which can take place partially via a kind of twin telepathy of facial expressions and slight head movements — that’s how close they are. Racine, slightly shorter and feisty, has always been the one to loudly stick up for Anaia, who is taller and quieter. Though both girls are scarred from terrible burns they suffered as children, Racine’s scars are mostly on her arm whereas Anaia’s scars cover part of her face. When, for example, kids cruelly taunt Anaia about her appearance, it’s Racine who offers a violent response.

Now in their young adult years, they live together and work a job cleaning offices — at least until Racine takes offense at how one worker responds to Anaia. The two decide to visit their long-lost mother (Vivica A. Fox) — who the twins start to refer to, maybe playfully at first, as God — who has written to tell them that she is dying. She asks them to do one final thing for her — kill her ex/their father (Sterling K. Brown), the man who so grievously injured all three women years ago. Though Anaia insists they’re not killers, Racine — especially after seeing the extent of her mother’s injuries — says she’ll get it done if Anaia just keeps her company while they find him. Thus begin their travels, starting with Divine (Erika Alexander), a woman who dated their father while he was on trial for the burnings.

As the movie follows the girls on their hunt, we get a series of solid performances — as well as an examination of the relationship between the increasingly out-for-blood Racine and the increasingly ambivalent Anaia. It’s a nice bit of development that the movie is able to accomplish in its relatively short run time (a brisk, well-used, no-filler 100 minutes).

Every thing about this movie is well-built and smartly used. This feels like a first film in the sense that everyone is just going for it, not hemmed in by any second guessing, and giving us visuals that can feel like choreography and dialogue that can feel more lyrical than literal. These are big bold choices but they all work and create a world specific to this story and to the bigger themes about violence, family and forgiveness. A In theaters.

Featured photo: Is God Is

The Super Mario Galaxy Movie (PG)

Get twice the princesses, twice the Bowsers, more sidekick-y characters, more video game beep-boops and big loud everything in The Super Mario Galaxy Movie, which is fine, cute even at times.

You get even more callbacks to Super Mario game play here but also a “kitchen sink cookie”-like jumble of beats that feels very Lego Movie and Star Wars and even a little Frozen. It feels a little more like one of those Oreo Reese’s candy mashups than a whole new thing unto itself.

Mario (voice of Chris Pratt) and Luigi (voice of Charlie Day) are now sort of interworld fix-it guys, which is how they meet Yoshi (voice of Donald Glover), one of the many “more characters, less time with any specific character” additions here. Meanwhile, Princess Peach (voice of Anya Taylor-Joy) is still curious about her origins. Elsewhere, a similar-looking Princess Rosalina (voice of Brie Larson), mother to a bunch of those star thingies similar to that gleefully nihilistic star in the first movie, has been kidnapped by Bowser Jr. (voice of Benny Safdie), who is looking to redeem the legacy of his father, Bowser (voice of Jack Black), who, as the movie begins, is still in his pet-turtle-sized tiny incarnation and is trying to “work on himself” and has also taken up painting.

The Bowser family is probably the most kooky-fun element of this movie even though it does fall into the “twice as much and somehow less” overall feel of the movie. The movie has a fun visual sensibility, between the color and the sort of winking malevolent cuteness of everything. It walks up to the line of that kind of cleverness overall but never quite manages the quirky zaniness of, say, a Lego Movie that would push it into the territory of a movie with all-ages appeal. It is an engaging candy mashup fully enjoyable for kids and mostly tolerable for their adults. C+ maybe even a B- if you were a Mario player or are a kid just looking to be entertained or are a parent looking to zone out during something loud and pleasant. In theaters now and slated for a VOD release May 19.

The Christophers (R)

Ian McKellen and Michaela Coel star in what plays out like a slow-motion art heist in The Christophers, a Steven Soderbergh-directed movie.

Sallie (Jessica Gunning) and Barnaby (James Corden) are the children of artistic great Julian Sklar (McKellen). Or at least he was a great, back in the day, but his talent and drive seem to have faded away and he hasn’t painted anything in decades. Deep in the attic of one of his London townhouses is a series of half-finished paintings that would be valued in the millions if they were sold as finished, never-seen-before works. Sallie attempts finishing one, resulting in a painting that resembles that church fresco that was “restored” and ended up looking more monkey than man. They turn instead to Lori Butler (Cole), a friend of Sallie’s from art school who has talent in her own right but who is also skilled at capturing the work of other painters. Lori is meant to work as Julian’s assistant, while also finding the missing “Christophers,” as the paintings are called, and finishing them to then return them to the attic for them to be “discovered” after Julian’s death. And clearly Sallie and Barnaby, who have a terrible relationship with their self-centered father, are hoping that end comes sooner rather than later. Their interest in “The Christophers” has, however, pushed the paintings into the front of Julian’s mind, and Julian would prefer to see them destroyed than sold. Lori, a one-time fan of Julian’s, seems conflicted about what the fate of the paintings should be.

Both Cole and McKellen can at times feel like they’re doing one-person shows that bump into each other, but wow is it fun to watch them work. Cole keeps Lori’s feelings close to the vest with silences and subtle facial expressions; McKellen hides how Julian really feels in long self-important monologues which of course he delivers with impeccable dry humor. Together they push against each other’s defenses, annoying each other and also drawing the other person out. You can at times forget that there is a forward-moving plot in all this, it’s easy just to enjoy two great actors doing great acting playing off each other. B+ In theaters and slated to come to VOD in May.

Normal (R)

Bob Odenkirk plays yet another regular-joe guy who finds himself needing to kick butt in Normal, a totally fine example of this genre.

It ranks, I think, between the two Mr. Nobodys — not quite as good as the first, better than the second.

After a career- and soul-shaking incident in his hometown where he was a longtime police officer, Ulysses Richardson (Odenkirk, also a co-writer according to IMDb) has become a traveling interim sheriff. He’s wound up in small town Normal, Minnesota, where he stays in a grimy motel and leaves his estranged wife long internal-monologue-ish messages. Normal is as advertised — with most of Ulysses’s work being pulling apart townsfolk fighting over something stupid. But generally, people are friendly and life seems to be going well, perhaps a little better than you’d expect for a small rural town here in the mid-2020s. And this small police department seems to have a weirdly well-stocked armory. Ulysses, policing in kind of a pleasant, semi-disinterested funk, is helpful to all, including to Lori (Reena Jolly), who turns out to be half of a duo, with Keith (Brendan Fletcher), of bank robbers. That the whole town freaks out when its local bank, which appears to have only a small wad of cash and a handful of coins, is robbed is one of many clues that all in Normal is not, well, normal. (The first clue is the movie’s opening scene featuring an unhappy Yakuza boss.)

I appreciate how this movie has a short story approach to its action, keeping us mostly in the here and now and mostly resisting the urge to load up on back stories or telling us how every single thing works out. Ulysses eventually gets a sort of sidekick in Alex (Jess McLeod), the grieving adult-kid of the previous, recently-deceased sheriff, and their partnership adds a nice plucky little element to the story. Normal is exactly what its trailer promises — a blend of low-volume humor and theatrical violence that makes for an enjoyable time. B In theaters now and slated to hit VOD in May, according to Forbes.com.

Featured photo: The Super Mario Galaxy Movie

The Testament of Ann Lee (R)

I’d have given Amanda Seyfried an Oscar nomination for playing Shakers church founder Ann Lee in this sorta-musical biopic, which is now streaming on Hulu.

Seyfried presents a compelling performance as Lee, a woman who believes she is having visions guiding her religious convictions and pushing her beyond the mainstream Church of England of 18th-century Manchester, England. The musical aspect of the movie — singing and dancing often presented as a heightened form of worship — fits in nicely with the slightly-out-of-the-world nature of Ann Lee. She grows up in Manchester, working in a cotton mill and later as a cook in an asylum, but is also constantly active in her pursuit of a religious home. When she finds Jane and James Wardley, leaders of a Shaking Quakers church in the town, she seems to enjoy the ecstatic movements of their style of prayer, as well as the relatively egalitarian approach to gender. When visions lead her to become a preacher in her own right as Mother Ann Lee, she and the Wadleys decide she should set sail for America with a party that includes her brother William (Lewis Pullman), her longtime friend Mary (Thomasin McKenzie, who is also the movie’s narrator) and her somewhat reluctant husband Abraham (Christopher Abbott). Abraham is not thrilled that one of Ann’s revelations is that celibacy, even in marriage, is the only way to get closer to God — a fact that the movie puts in context of Ann’s four pregnancies that resulted in children who died before they were one year old. In the U.S., Ann and her followers slowly build a church community — one full of some truly lovely furniture — but also deal with the persecution of being a relatively fringe religion with a woman in charge.

In addition to the good work by Seyfried, the movie is lovely to look at — lit and framed like a live tableau of 18th-century paintings. The look of the movie conveys the emotion and helps put you in this world where religion plays this very un-21st-century role not only in society but also in the internal lives of the characters. B+ On Hulu and available for purchase.

Featured photo: The Testament of Ann Lee

Send Help (R)

Rachel McAdams is a kooky delight as an overlooked office worker who blossoms into her best, insane self when she is stranded on a tropical island in this fun, queasy-making thriller. (Eye stuff, puking, big oozy gashes — this movie has it all!)

Linda Liddle (McAdams) is passed over for promotion by her new nepo-hire boss, Bradley (Dylan O’Brien). Though smart and capable, Linda is also awkward and messy and covered in tuna fish sandwich flecks when Bradley is first reintroduced to her. He nevertheless brings her along for a business conference in Thailand — for work purposes because she can solve the problems his dumb college buddy (who got the job she wanted) can’t but maybe also to have someone to bully. One of the dudes in the bro-pack accompanying Bradley has found Linda’s Survivor audition video, which reinforces both how deeply uncool she is and also her wildlife knowledge bonafides. Chekhov’s fire-making skills do not have long to foreshadow as the plane goes down (gruesomely!) and Linda is soon set adrift in a stormy sea. When she washes up on the island, she finds that an injured Bradley has also survived and sets about making shelter and a fire and finding food for them both. After he makes a few stabs at telling her how to island, Linda reminds him that, as she says in the trailer, they’re not in the office anymore and the power balance is not as it was.

Bradley of course deserves every gross thing that happens to him. The movie nicely never lets him learn and grow; he is an unlikeable wienie throughout. But the movie doesn’t just paint Linda as a poor wronged nerd who never learned to dress for success. She has weird, potentially violent, layers and her time on the island awakens not just confidence but a gleeful enjoyment of her power over a former tormentor.

And sure, this could all come off as nasty in a way that would be less enjoyable to watch. But McAdams is having so much fun here — reveling in the darkness of Linda as much as the earnestness. For me, the fun is what makes Send Help such a solid good time, with its winky needle drops and its dark comedy sensibilities. B+ Available for rent or purchase.

Featured photo: Send Help

International Oscar

A look at more Oscar nominees before the big night

Happy Oscar day to all who celebrate!

The 98th Academy Awards will air Sunday, March 15, at 7 p.m. on ABC. There are some true gems on the list of nominees — I’ll be rooting for Sinners in the 15 categories where it’s nominated and for all of the nominees in the best lead actress category — let’s go, five-way tie! But to wrap up the Oscar season, I took a look at the nominees for International Feature Film, which this year include two movies — The Secret Agent and Sentimental Value — that have a strong presence in other categories as well.

Sirāt, the entry from Spain, is the one movie of the five not yet available (as of March 8) for home viewing. The four I did watch, while varying in tone and style, all had a thread running through them about a country in crisis — what it’s like for the people living in it and how the trauma can echo through the decades.

The Voice of Hind Rajab (rent or purchase), the entry from Tunisia, is based on a true story of operators at the Palestine Red Crescent Society’s 911-like center and their attempts to save 5-year-old Hind Rajab in early 2024. Operators take a call about a car trapped on a street in Gaza, being hit by shells and gunfire. Eventually, Hind is the only survivor in the car and ends up on the phone with the operators, crying for someone to come get her. The movie takes place within the phone center, while the operators attempt to comfort Hind and work on finding a way to get an ambulance to her. Getting an ambulance into the war zone requires a slow-moving this-official-calls-that-official process to find a route where the Israeli military is not. The office head (Amer Hlehel) is desperate not to lose any more ambulance drivers and medics while the two operators (Saja Kilani, Motaz Malhees) talking to Hind are desperate to get the scared young girl help now. It’s a harrowing story that mixes the actors and their voices with the voices of the real operators and uses Hind’s real voice throughout, according to media reports. In the way that it is very tightly focused on one child a group of professionals are trying to save, the movie reminded me a bit of the TV show The Pitt, with dedicated people offering competence and compassion in the face of tragedy.

It Was Only An Accident (Hulu, rent or purchase), a French entry that is, according to Wikipedia, a “co-production between Iran, France and Luxembourg,” has a dark comedy veneer with a bleak psychological-drama interior. Vahid (Vahid Mobasseri) is absolutely, completely positive that the man (Ebrahim Azizi) who happens to visit the auto repair shop where he works is the man who once tortured him when Vahid was held prisoner by the Islamic Republic of Iran. Absolutely, completely, probably positive, after he kidnaps the man, ties him up and puts him in the back of his van. He considers burying the man alive, but maybe he’s only like 90 percent certain he has the right guy? Looking for confirmation, Vahid contacts another prisoner who was tortured by the man, another person who is also only mostly certain the blindfolded man in Vahid’s van is her former tormentor. Eventually, photographer Shiva (Mariam Afshari); Goli (Hadis Pakbaten), the wedding-dress-wearing bride-to-be Shiva was photographing, and Hamid (Mohammad Ali Elyasmehr), the most certain that Vahid’s hostage is the torturer, are driving around in Vahid’s van, attempting to stay undetected by officialdom and trying to figure out what to do with this blindfolded, sometimes unconscious, possibly very dangerous man. There are a few darkly funny moments but the movie’s core is the trauma these people carry around from what they experienced, a trauma that is never far from the surface.

There are similarities in tone between It Was Only An Accident and The Secret Agent (Hulu, rent or purchase), a movie that also deals with people trying to live a normal life in a country that is broken. In this case, that country is Brazil in the late 1970s, when, as the movie tells us, lots of “mischief” happened, from the dead body left for days in a parking lot because no police can be bothered to come get it to the government persecution that requires people to go into hiding. Armando (Wagner Moura) is hiding in plain sight as Marcelo, living in an apartment full of people using different names in an attempt to stay alive, as he tries to figure out what happened to his long-gone mother and find a way to get himself and his young son out of the country. Armando’s problems seem to stem from the politically-connected head of the country’s power company defunding Armando’s university work and Armando’s objections to that action. When rich dudes and their idiot sons hold government-backed, extra-legal power, their personal prejudices and power-seeking whims can destroy lives — is how Armando’s problems can be boiled down. The movie does an excellent job with the world building with lots of engrossing moments and details about the people trying to maneuver through this fraught society.

Sentimental Value (rent or purchase) from Norway received nine Oscar nominations, including International Feature Film and, along with The Secret Agent, a spot on the Best Picture list. This movie has an episodic feel, like you’re binging a family dramady TV series. After the death of their mother, sisters Nora (Renate Reinsve) and Agnes (Inga Ibsdotter Lilleaas) must deal with the reappearance of their father, Gustav (Stellan Skarsgård), a famous filmmaker who has been largely absent from the family since the parents’ divorce decades earlier. The family house still belongs to Gustav, the latest in a long line of his family to inhabit it, who is now considering using it to film his new movie, a semi-biographical story about his mother. He’d like stage actress Nora to star in his movie but their relationship is so spikey she won’t even read the script. Agnes, married mother of a young son, is sort of the family peacemaker, but you can tell she’s dragging around baggage too — some of it, as she learns when she investigates Gustav’s mother’s imprisonment for anti-Nazi resistance during World War II, possibly inherited. The sudden appearance of American actress Rachel Kemp (Elle Fanning) as a possible Nora replacement in the movie does not help with family dynamics. All four of these core performers are nominated and they all turn in nuanced performances that let us see character arcs and growth.

New Hampshire Jewish Film Festival
The 18th annual New Hampshire Jewish Film Festival kicks off Sunday, March 15, with an opening reception at the Singer Center for the Arts (77 Amherst St. in Manchester) at 5 p.m. followed by the festival’s the first in-person screening, Elie Wiesel: Soul on Fire at the Rex Theatre in Manchester, at 7 p.m., according to a press release. In-person and virtual screenings continue through Sunday, March 29, and the festival will feature 13 feature films and four short films, the release said. Screenings will take place in Manchester, Concord, Portsmouth, Hanover and Keene, according to the nhjewishfilmfestival.com, where individual tickets and ticket packages are available for purchase. Local in-person screenings include The Road Between Us on Thursday, March 19, at 7 p.m. at Chunky’s in Manchester; Ethan Bloom on Tuesday, March 24, at 7 p.m. at O’Neil Cinemas in Londonderry; The Stronghold on Thursday, March 26, at 7 p.m. at Red River Theatres in Concord; Hidden: The Kati Preston Story with special guest Kati Preston for a post-film discussion on Sunday, March 29, at 1 p.m. at Red River Theatres; 13: The Musical on Sunday, March 29, at 1:30 p.m. at Red River Theatres, and The Ring on Sunday, March 29, at 3:30 p.m. followed by a festival wrap party at 5:30 p.m. at Red River Theatres. See the festival website for the full schedule and for tickets and trailers.

Featured photo: It Was Only an Accident

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