Category Archives: Comedy

08.06.25
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The Phoenician Scheme

Wes Anderson always tries to out-Wes Anderson himself with every new movie — the framing devices within framing devices, the immense ensemble casts, the intricate and stunning production design and often complex, windy storylines and characters. Some times it pays off less than others, but The Phoenician Scheme is a delight from start to finish that aspires for big but also stays true to what it establishes itself to be. Benicio del Toro finds himself in his best film role since Sicario as a pitiful and apathetical tycoon, while Mia Threapleton gives a killer breakout performance as his maybe surrogate/maybe biological daughter. Their dynamic is filled with battles of wits and values, and Anderson again recruits a truly larger-than-life cast, all in kooky and entertaining fashion. Michael Cera, Riz Ahmed, Tom Hanks, Bryan Cranston, Richard Ayoade, and Scarlett Johansson are only a few standouts here, and they really do keep on coming. Anderson also aspires for great scope with the fictional settings the leads journey into, which continue to wow and surprise; the sheer imagination of the sets is always a highlight for the director, as are the beautiful shots here.

The details of the titular deal that Benicio del Toro’s character is after may be so complicated and brisked past that they’re difficult to understand until much later on, but the caper-like plot developments are so exciting, thanks to an energy the film figures out in its opening moments and doesn’t let go of. It’s also one of the filmmaker’s funniest films in a long time, with the laughs being nearly constant but also revealing things about the characters and world we’re watching. If anything falls short here, Anderson seems to love a good anticlimax — a sudden pivot away from the big climax for a quiter, more meditative conclusion. Though this has worked in his favor before, the problem is that he’s actually trying to go for a grand finale here, but can’t help and make it feel way less than what it should be. It’s got the globe-trotting adventurousness of The Grand Budapest Hotel and The French Dispatch, and the director’s imagination doesn’t hold back. It’s certainly a step up from his previous Asteroid City, the laughs and story continuing to escalate and the pace never hitting the brakes until the very end.

07.16.25
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Sorry, Baby

Eva Victor’s revelatory debut film is raw, uncomfortable, and belly-laughing levels of funny. It provides a deeply personal look into a topic that’s far too real, and not only demands but earns the full attention and empathy of all watching.

Victor’s leading performance as Agnes feels real and pierces into your heart, while their charm and comedic timing are always outstanding. Naomi Ackie gives a sweet turn as Agnes’ best friend Lydie, while Lucas Hedges also shines here, as well as John Carroll Lynch in an unforgettable minor role. Victor’s direction and storytelling brilliantly unveil the truth about this film in the first act, while the script continues to surprise you. The humor is sometimes informed by the serious or the awkward. The laughs hit so hard you’ll feel like you’re on your toes — the moment you feel a line will probably be the funniest and most memorable in the movie, its topped moments later.

The film’s unflinching look at sexual violence and the culture around it also ties in to broad themes about time shaping one’s life and soul.  The film isn’t optimistic and loving despite the heavy subject matter, but because of its aftermath and the character’s journey to finding purpose again after experiencing something unspeakable. Perhaps by speaking about such things, as the film hints, hope can come through support and redemption. Sorry, Baby is one of the year’s essential watches with a magnificent story and perspective that resonate long after the credits roll.

07.01.25
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Elio

Elio is an young boy living with his aunt, who’s obsessed with the extraterrestrial and making contact with him. One day, the lonely titular boy gets his wish and finds the fate of the galaxy in his hands.

Pixar’s newest animated film is incredibly easy for families to enjoy and even find meaningful connections to, though its far from the impactful experience we’re used to from the studio. Best of all, it focuses on acceptance, self-esteem, and finding your way through loneliness and feelings of not fitting in. Zoe Saldaña, Brad Garrett, and Jameela Jamil all give entertaining performances, and the look of many scenes are colorful and gorgeous — from diverse alien species to their suits and intricately designed spaceships.

Audiences may connect to Elio’s strive to be accepted by others, and at its core is a sweet relationship between him and his aunt that feels like the film’s true heart. However, despite some entertaining humor throughout, it takes until the third act for the story’s drive to really feel exciting at all. It’s probably not the best or most original film about its themes, but also has a whimsical charm, great visuals, and a look and feel that will definitely entertain more than just the youngsters, and give some strong material for positive discussion among families about acceptance.

05.02.25
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Thunderbolts*

After being lured into a deadly trap by CIA director Valentina Allegra de Fontaine, a group of antiheroes form an unlikely team to bring de Fontaine and her destructive plan down.

Thunderbolts* is oozing with energy and a deep care for its characters, with a darker edge of corruption and death to its subjects. Contrary to this February’s Captain America: Brave New World, Thunderbolts* thrives by allowing its cast’s charisma to roam freely, led by the incredible Florence Pugh. This time around, Yelena is the film’s lead, and Pugh taps into the character’s core of depression and emptiness, including her tumultuous relationship with her father, former Soviet super soldier Red Guardian, played by the vivacious and hysterical David Harbour, longing for glory again. Wyatt Russell and Hannah John-Kamen are also utilized very well, while Sebastian Stan returns as Bucky, who leads many of the others through a similar emotional arc he’s learned his way through. Geraldine Viswanathan is also a standout as Mel, assistant to de Fontaine — played in such a juicy performance by Julia Louis-Dreyfus as a menacing figure who will stop at nothing to gain absolute power and avoid all consequences for it. Though Lewis Pullman’s performance doesn’t have the same loose charm we may have felt from him in Top Gun: Maverick and Lessons in Chemistry, he also well portrays Bob’s awkwardness and the darkness enveloping his character.

The best part about the film is how the characters interact as a team — their action and combat scenes are awesome, the way their differences interact through banter and humor is greatly entertaining, and the way they utilize their strengths to solve problems (albeit reluctantly) makes them unique. Some characters’ arcs could’ve used more closure, and the final act and climactic battle could’ve hit harder, and it’s not as stylistically irreverent as Guardians of the Galaxy or The Suicide Squad, but like those films, it’s about people who want anything but to be heroes learning to find redemption by embracing one another’s differences and company, and stepping up and do the right thing. It may not be one of the MCU’s most visionary installments, but also may prove to be one of their more rewatchable in the future, as its cast of misfits and contagious energy stand out. If these characters weren’t your favorite in the MCU or anything close, that may just change for good after Thunderbolts* — an extravagant action/comedy that may be short on some wildness or development in certain aspects, but is certainly big on the excitement and reward.

04.05.25
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A Minecraft Movie

A Minecraft Movie may prove a treat for younger audiences and fans of the beloved game. It’s got charm, thanks to its main stars, particularly Jack Black. He gleefully gives his playful and extravagant energy to Steve, even throwing in his musical comedy talents. Jason Momoa entertains but his dialogue threatens to miss almost as much as it’ll make you laugh. Danielle Brooks is splendid as a very unexpected companion on this journey, and gives the runtime lots of heart. Emma Myers does a solid job playing an unlikely heroic character, whose storyline with her brother avoids some cliches while falling head first into others.

Though this is a Minecraft movie first, director Jared Hess’ love for misfits and outcasts is written all over the film. What brings the film down is the aesthetic, that fails to get you to suspend your disbelief strongly enough to overlook the unconvincing green screen and weirdly uncanny CGI of some of the Minecraft characters/species. The live-action parts carry the film well if you ignore some of the backdrops, but sometimes you’ll wish that the scenes inside the Overworld were completely animated. It also doesn’t help that the idea of an unlikely team of social outsiders from the real world trying to navigate a fantastical world they’ve been suddenly pulled into is nothing new. Even the Jumanji films, also starring Black, had much more to offer the formula.

Still, the film has just enough charm to delight children and families, embracing the essence of the game with a positive message about creativity. And Black proves that he’ll continue to entertain generations of viewers with his ability to let loose. It’s a film that embraces exactly what it is, even if when you think about the film or look too long at the visual details, the building blocks starts to fall apart.

03.15.25
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Novocaine

In this increasingly over-the-top action comedy, Nathan Caine is an assistant bank manager who takes manners into his own hands when the girl of his dreams is kidnapped by armed criminals. To make matters both more and less helpful, Nathan has a rare condition where he can’t feel pain at all.

Novocaine takes full advantage of its smart concept, upping the ante in humor, gore, and excitement throughout its runtime. However, it stars off genuinely charming and emotionally effective in its beginning, making Nathan’s arc, and the audience’s investment, pay off. Jack Quaid gives the film its heart, and though the trope of an unskilled, unqualified everyman suddenly thrusted into a deadly action-packed situation has been done to death, the journey feels completely fleshed out and earned here. Quaid has tons of fun leading into the ridiculous and often accidental badassery of his protagonist. Amber Midthunder also gives the film plenty of heart and proves her versatility, and Jacob Batalon is hilarious. Betty Gabriel is also strong as a cop on Nathan’s tail, and even the villains, in all their cheesiness, gives some fun to be appreciated in their performances.

As Novocaine continues to push the limits of the term “over-the-top”, it occasionally stumbles in its story’s believability, but the suspense of disbelief when it comes to the gory action scenes never detracts, just further entertains and may even have your jaw on the floor. The more audacious it becomes, the more pleasing the journey with Novocaine gets. But balancing out the gore and nonsense is a sense of heart with its romance and friendship at its core, with Quaid’s charisma at its center that we can never quite get enough of.

03.11.25
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Mickey 17

Mickey is an Expendable on a expedition to the space colony Niflheim — meaning a new copy of him is printed out every time he dies, which is more often than others. Soon, trouble ensues as Mickey finds himself in a dangerous situation and a fight to survive.

Bong Joon-ho’s likely largest production in sheer scale isn’t subtle in its themes, whether of human nature, fascism, or the arrogant abuse of technology, but it’s still clever, vibrant, and so full of heart, more than enough so to serve as an absolute blast of a film. The look and feel of the sci-fi settings feels original and Pattinson’s delivery of the titular character is likable. Mickey 17 is an insecure man/clone who’s somewhat at peace with the bleakness of his situation, but is fun to follow along and has the sudden urge to stay alive and fight for what’s right. He also has great chemistry with himself as Mickey 18, who’s only a few hours older than 17 but almost the polar opposite — hardened and occasionally ruthless. Naomi Ackie gives the film its soul; she’s so lively and wonderful as Nasha, who elevates Mickey as much as she’s on her own meaningful journey. Steven Yeun also shines as a sleazy and unrealiable but multi-dimensional frenemy of Mickey’s. The parallels between Mark Ruffalo’s character and certain powerful men in our reality aren’t hard to decipher, but he and Toni Collette entertain, even when their performances occasionally threaten to fall into caricature.

Mickey 17‘s magic is finding the humor and gentleness within the darkness. Mickey always sees his situation with a sense of irony, but Bong also finds care and soul within side characters who usually would feel disposable in other films. He never loses sight of the absurdity at hand but keeps elevating the stakes and with it, his signature expert eye. The film packs charm, exceptional world-building, irreverence, and characters we love, not despite but especially for their messiest parts.

02.17.25
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Bridget Jones: Mad About the Boy

Renee Zellweger’s iconic British protagonist has become something of a cinematic treasure across four films now. But her films haven’t made us just laugh along at her missteps, but watch her develop, and even come of age, you could say. This final film has a somewhat more bittersweet tone, though, as Bridget’s lover, Mark Darcy, is no longer in the picture. Four years after his loss, she is finally ready to move on and find love again. The film maturely tackles coming to terms with grief, finding joy again while coexisting with the memory of those who have passed on. But it’s also still irreverent, charming, and romantic. It tackles some of the basics that the first film gave a go at, but Zellweger not only shows Bridget’s goofy side, but her struggles with being a single mother of two, and the absence of her husband.

Joining the mix are Chiwetel Ejiofor and Leo Woodall, who both charm in different ways, but Ejiofor in particular has great chemistry with Zellweger. Though it does retread familiar rom-com territory, or that of comedies about parents raising children, and it’s not the sharpest or smartest of the franchise over Bridget Jones’s Baby, it still offers a good time and a heartwarming conclusion to a lovable, messy delight of a character.

01.10.25
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A Real Pain

A Real Pain beautifully balances the heartbreaking and hysterical through the dynamic of Jesse Eisenberg and Kieran Culkin as cousins David and Benji, who travel from New York to Poland together on a tour in memory of their deceased grandmother, a Polish Holocaust survivor. It’s about so many things, whether big or small. From a Jewish perspective, the film powerfully touches on complicated feelings of nationality towards countries in which one’s family lived but suffered horrific atrocities, as well as generational trauma. As someone who has embarked on this tour myself, the film captures not only the visceral nature of walking into places where such evil was committed eight decades ago (which both I and the characters here came to feel, wasn’t even that long ago), but the deep emotional connection towards one’s ancestors, community, and people it invokes.

From a personal perspective, the film is also very much about empathy — the idea of feeling others’ pain, and sadness, to better understand and connect with oneself. Kieran Culkin in particular brings such harsh complexity to his character. Benji is fascinated with human connection and constantly in pursuit of embracing living life with all his senses, but doesn’t always know how to feel, or express himself to others. Even when he pushes others away and embarrasses himself, the audiences can’t help but hold him close to their heart and feel deeply for him in every moment, because of his desire to grieve for his grandmother, and true yet misguided desire for the best. Eisenberg, in one of his most substantial and beautiful performances, wonderfully conveys David’s pull to and from Benji — his responsibility yet resentment towards the way Benji feels, which comes from a distance and envy from him, yet a dear love for him. Their bond is as moving as it is poignant, and even irreverent, and best of all, it’s easy to connect with them both as an audience member, despite how wildly different they are. Eisenberg’s script is devoted to his love for his Jewish heritage and culture, and exploration of the human condition that may even make you reflect on how you live your life. He and Culkin together make for a wonderful pair in a film that’ll take you on an emotional journey filled with weight and resonance.

10.25.24
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Venom: The Last Dance

Eddie and Venom are now fugitives on the run after the events of the previous film, and soon run into threats that threaten their existence together, and that of the entire world.

The third and final Venom movie offers much stronger laughs due to the bromance between Eddie and Venom. Though there’s still a fair share of cringe, there are some more genuinely funny moments, which for some is all you can ask for from these movies. But it’s hard to pinpoint whether it’s a genuinely better movie than its predecessors, or the bar was set so low by them that enjoying this one is a little easier. Not to mention, coming out after Morbius and Madame Web does this movie many favors considering it’s nowhere near as unwatchable, but how high of a compliment is that really for a movie? Where the film struggles again is making any sense of its story or having any engaging conflict beyond its titular dynamic. For the first bit of the movie, I was enjoying the chemistry between Tom Hardy and the CGI black blob much more than in the past films, but it soon descends into the same dull action scenes and tedious symbiote science exposition these films have subjected us to before.

The action scenes, including the uninspired CGI character designs, feel recycled and unattractive and do nothing different from the past films, as well as a few uninspired soundtrack choices. The rules to the conflicts are inconsistent and contrived, not to mention the disappointing use of great actress Juno Temple, who’s mostly just there to give exposition and stand on the sidelines. It’s also slightly distracting to have cast Chiwetel Ejiofor and Rhys Ifans, who have already had other Marvel roles, and Ejiofor’s character has no depth or originality to him. Every time we come back to the fighting and stakes, it’s hard to care, especially due to a few unrewarding story threads. It’s much more of the same, and leaves no impression despite its efforts to close out the trilogy. It may be the best of these films but that’s hardly a compliment considering how mindless and uninspired they already were.