Category: Reviews Page 1 of 2

You People. (L to R) Julia Louis-Dreyfus as Shelley, David Duchovny as Arnold, Lauren London as Amira, Nia Long as Fatima, Eddie Murphy as Akbar and Jonah Hill (Writer-Producer) as Ezra in You People. Cr. Tyler Adams/Netflix © 2023.

You People: Not All It Could Be

On February 3, 2023

Written and produced in partnership by Jonah Hill and Kenya Barris, You People is a romantic-comedy and social satire. Jewish finance broker and side hustle podcaster Ezra (Jonah Hill) is unlucky with love, always paired with nice Jewish girls, his mother, Shelley (Julia Louis-Dreyfus). African American Muslim costume designer Amira (Lauren London) is also unlucky with love, her father, Akbar (Eddie Murphy), interferes and undermines her decisions. They meet by accident; the rest is a wild ride with plenty of mental gymnastics surrounding race politics.

The first ten minutes are dedicated to establishing Ezra’s story, which tells us pretty much everything we need to know about his life, flaws, etc. My first and continuous critique is that Amira’s backstory and life do not get as much detail or time as Ezra’s.

About 20 minutes into the film, I haven’t laughed out loud yet. That’s not to say that the film isn’t funny, it’s quirky, and I smiled some, but it hasn’t yet made me cackle.

There’s a bit of a magic dating montage for Ezra and Amira; their chemistry is pretty strong, but it’s a shame that some of the most fun in rom-coms was rushed through. I don’t like the dating dragged out, but it is fun to see the couple interact in different settings and, especially, to see the couple introducing each other to their friends. And this is another grievance I have towards Amira’s storyline; she’s got no best girlfriend to discuss Ezra with – like, Ezra has Mo (Sam Jay), but Amira doesn’t get that throughline and open dialogue that he has.

We later see Amira’s friend group at the bachelorette party, which barely shows the friend dynamic. This is something I grow increasingly disappointed about throughout the movie.

After the “Six Months Later” break, Ezra introduces Amira to his family. Of course, this is humiliatingly cringe. Ezra’s father, Arnold (David Duchovny), is remarkably not self-aware, and Shelley is trying too hard to connect with Amira that she is outright being offensively obtuse about her race. On the other hand, Ezra’s sister, Liza (Molly Gordon), is perfect; no notes.

Admirable that Ezra tries to call out his mother for being so… cringe, but he doesn’t get his point across properly, and Shelley misses the point entirely because Ezra also drops the bomb that he wants to marry Amira. Cute. However, we don’t see Amira introduce her parents to Ezra; we see him at a diner attempting to ask their permission to propose. I feel like the omission of Amira in certain scenes tells of this film’s true intentions. As much as they give Amira conflict and an arch, it’s not nearly given the attention that Ezra and Akbar are.

Amira’s mother, Fatima (Nia Long), is lovely and compliments Eddie Murphy’s performance as Akbar quite well, but I find it odd that her part is so tiny. There isn’t that mother/daughter bond where she’s there for Amira when Akbar is a little too much. I think Nia Long does terrific with what she was given, but I don’t think she was nearly given enough.

Jonah Hill has mastered the art of cringe comedy. He constantly humiliates himself in You People, and I don’t think this style is for me.

Regardless of the horrendous confrontation between Ezra, Fatima, and Akbar in that diner, the couple still ends up engaged in a pathetic display of self-doubt from Ezra, coddled by Amira. It’s not the most dreamy proposal, nor would I call it a spontaneously romantic proposal in the living room. This scene was marinated in what would eventually push the two apart. In the end, a clever foreshadowing, if that was the intention.

Now that the couple is engaged, they buy a house together, and EZRA QUITS HIS JOB! Indeed the opposite of what most women want, but Amira is all for him following his passion of being a straight white man with a mike. And due to their families’ differences, the two decide to put their marriage on the back burner.

This is where things go off the rails. Like, there have been instances where Akbar has said things, and I’ve been sceptical, but then he fully outright claims to be buddies with Louis Farrakhan. I don’t really understand the purpose of making Eddie Murphy a vaguely Hotep, anti-vax, antisemitic sympathiser. AND SHELLY HAS HER ISSUES TOO! She clearly doesn’t grasp or understand how her words and actions are hurtful towards Amira and can be easily called micro-aggressions of racism. I don’t want to say that’s normal for white people and therefore okay because it’s definitely not okay! But, it’s not the actions of an extremist, conspiracy theory white supremacist. Where Akbar’s comments here and there point to an extremist direction, and he doesn’t really ever redact those statements or clarify his beliefs in that department. I don’t know. This is murky territory for me as a white woman, but from what I understand, this should be more controversial.

(L to R) Jonah Hill (Writer-Producer) as Ezra and Lauren London as Amira in You People. Cr. Tyler Adams/Netflix © 2023.

I mean, in the end, Akbar and Shelley come around and band together to put the pieces of their kids’ relationship back together. That’s definitely redeemable for a lot of what they put Ezra and Amira through in this whole process, but I’m not sure it solves everything? Maybe that’s the point! Like, Ezra and Mo have monologues in the film about how there will never be peace between Black and White people because no matter how much White people try to do right, there will always be a persisting resentment felt by Black people for how they were treated in the past. Maybe that’s part of it! That these things can never be solved… but I do wish we had a little clarification on like where they stand in terms of racial politics… I don’t know, though. Again, I am a white woman, so who am I, right?

To top it all off, Ezra’s podcast gets picked up by Complex, but we never see if Amira’s designs get picked up for a project after she’s rejected when two producers misinterpret her college credentials. Amira doesn’t get the wins that Ezra does outside their relationship, and Shelley’s apology to her isn’t good; it is super vague and oddly too broad? No one asked you to apologise for the human race; you just needed to grasp what you did wrong and work not to repeat those mistakes.

For a romantic comedy, the cutest Ezra and Amira were when they were in the bathroom together after their first hook up, and the funniest this movie got was when Amira and Shelley carpooled and Akbar and Ezra carpooled. That was simple, boomer comedy, and it was good.

But I’m A Cheerleader | Retro Review

By Isobel Grieve

On August 25, 2022

In Movies, Reviews, Uncategorized

I know! I know, I am incredibly late! But I’m A Cheerleader came out 23 years ago, but give me a break, I was only three. I wouldn’t have understood a word of this masterpiece, although I probably would have found the colour palette highly stimulating.

I already knew going into this film that I would love it because people I know with good taste in movies do. I also know Natasha Lyonne is a god-like icon; I love everything she does. However, I was pleasantly surprised to see that Michelle “Vote to make [the government] look more like [white women]” Williams has a five-minute cameo mid-Dawson’s Creek era.

I shouldn’t put words into Mrs Williams’ mouth – how rude of me. The real quote from her 2020 Golden Globes speech is, “Women – 18 to 118 – when it is time to vote, please do so in your own self-interest. It’s what men have been doing for years, which is why the world looks like them. But don’t forget we are the largest voting body in this country. Let’s make it look more like us.” It came from a good place but did come across TERF-y. Her words also [may have] encouraged a demographic of white women to vote for Donald Trump with their whole chest. It also comes across… not so great coming from a white woman in general…

ANYWAY, this review is supposed to be about But I’m A Cheerleader, so let me get back to that.

I wish Cathy Moriarty was in every film ever made. The two projects I know her from now are But I’m A Cheerleader and Casper! And, to be completely transparent, that’s just not enough for me.

Melanie Lynskey makes every project she’s in better. I’m so happy she’s found herself in a juicy lead role with Yellow Jackets. This woman has deserved a giant spotlight for decades. She is oh so, so funny in everything with an edge telling you she can do more. She deserves a career like Kathryn Hahn.

RuPaul delivered.

I enjoyed every aspect of this movie. Every element played into a heightened queer experience. It simplified a traumatic experience for the queer community into this superficial game of House that kids play in the schoolyard. It poked fun at gender roles while cleverly asking the audience to evaluate what it means to be straight, not queer. It made hetero society the joke.

Clea DuVall and Natasha Lyonne’s enemies to friends to lovers story was lovely to watch as it blossomed. Although, I felt the climax lacked an oomph. Something was missing from the graduation scene for me. There wasn’t enough conflict – there was no confrontation between Grahm [DuVall] and her dad. I would have enjoyed a bit of back and forth; some external self-confidence defying her paternal restraints. But I’m content with a happy ending nonetheless.

I will definitely be rewatching.

And you can rewatch with me because But I’m A Cheerleader is free with ads on YouTube.

To Infinity and Boredom: Lightyear review

By Isobel Grieve

On June 20, 2022

In Movies, Reviews

Does every franchise need a prequel and a multiverse?

Lord of the Rings, Game of Thrones, and The Hunger Games are getting a prequel series. We’re in the age of the Multiverse where large franchises are jumping on the opportunity to expand their IP’s use by recreating the same characters over and over again and then giving it “a greater purpose” (when it’s just a cash grab).

I get it. There are characters that I love and cherish that resonate with me and make me feel safe. There are studies on binge-watching and why we crave the same TV show or Movies: anxiety, depression, and stress – some say it’s an addiction. Binge-watching and re-watching old favourites act as a crutch for uncomfortable feelings. With binge-watching becoming a prevalent part of our media consumption, we’re now in the age of… Well, prequels, sequels, multiverses, and remakes.

These aren’t new concepts but are certainly more popular now than ever. And to top it all off, the world is a mess, a lingering pandemic, financial crisis, breakdown of democracy, backpedalling policies… It’s not looking great. I get it. I, too, would like a little serotonin in the form of my favourite characters back on my screen, please!

That said, it doesn’t mean every re-visitation is a gem.

Lightyear felt like a smash of sci-fi tropes – we could call it an ode to the genre or we could call it a boring amalgamation of franchises – lacking originality. I mean, Buzz Lightyear, as far as I’m aware, was meant to be a catch-all for sci-fi characters to represent the new making Andy look archaic. The original concept for Buzz Lightyear, in that context, was great but trying to make a new story out of a character crafted as a generic placeholder… They ended up with much of the same.

It was a tall order to create the amazing thing that Andy fell in love with. There were rules to follow about who Buzz is/was. That can be hard and constrictive when trying to create an original story, but without ingenuity, Lightyear came across as bland – a bunch of things we’d seen before.

The reveal that Buzz’s older self was the villain didn’t feel like the “OH MY GOD” moment it was meant to be. It felt like a cop-out. It made the OG villain in Toy Story feel… underserved. Honestly, I would have preferred if the villain was a robot leader of a robot master race. In this case, IMO the obvious assumption is more interesting to me. I mean, come on! Give us some lore, and expand your world!

I know it is ultimately a kid’s movie – it’s not supposed to be some complex storyline portraying something deeper. BUT that didn’t stop Red from creating something unique, magical, and insightful – from the same studio, released not long before Lightyear.

Honestly, after Turning Red, Lightyear is a bit of a letdown. If I were to pick between the two, which deserved a theatrical release, I’d say Turning Red in a heartbeat without a single regret.

I found Lightyear’s story lacking.

I didn’t cry when people said they cried. I didn’t feel attached to the characters.

I also saw story elements with potential for deeper storytelling that went ignored. There was an opportunity to comment on the way these space rangers commandeered a planet that didn’t want them there…*cough* colonizer plot *cough*

Maybe those vines don’t have faces, but they clearly have senses that you’re a threat. AND by the time Buzz is fighting his older self, the planet looks somewhat desolate? The jungle that Buzz and Alicia first stumbled into looks… vibrant and later it kind of disappeared? Or changed? That, to me, could have been a perfect opportunity to integrate a colonizer undertone to the society they’ve created and counter it by leaving… but no, in the end, Buzz agrees that their colonization is for the best! Really?

The movie is clearly about how sometimes mistakes can become opportunities; how it isn’t good to dwell on the past or try to rewrite history. Buzz learns he needs to move on and contribute to a better future…

BUT is this a better future for the planet? The society they’ve created has savagely sucked the planet dry of its resources and demonized the native wildlife for protecting itself. They aren’t aiming to live in peace with the planet… they’ve created a sci-fi version of a gated community… how is that good representation? How is that a better future?

I get what they were trying to do and why they did what they did, but I don’t like it. And after all that….

Lightyear feels… forgettable.

It wasn’t BAD, but it didn’t take my breath away either. Honestly, if I could go back in time, I would wait for it to come out on Disney+ and spend my money on a ticket to something else. People have been making a big deal about a lesbian kiss, but I don’t remember there even being one. I’m sure it was there! I’m just saying it wasn’t memorable.

What did I like?

I liked that Buzz’s partner, Alicia, was Black. I liked that her granddaughter, Izzy, became Buzz’s new partner. I appreciate the key creatives who pushed for diversity and LGBTQ+ representation and stuck it out even when the film became banned by other countries. I liked the callbacks to Toy Story. I liked the dynamic between Buzz, Izzy, Mo, and Darby. I even liked SOX, which is blatantly another marketable toy.

BUT these things don’t save the movie.

Also, keep in mind, that I am an absolute SIMP for Chris Evans… I may very well be subconsciously holding back in the hope for my someday Wattpad Y/N moment with him.

Be wary, Lightyear might not be all that it is cracked up to be and perhaps hold out until it hits a streamer before paying for a ticket in a recession and a lingering pandemic.

Book to Film: Along for the Ride review

By Isobel Grieve

On May 6, 2022

In Books, Movies, Reviews

I read the book; I still have the original hardcover copy. I loved Sarah Dessen in my early teens. I identified with her heroines; they often had hardened pasts, a jaded edge, perfectionism, social awkwardness, and a sudden drive to become someone new; I found that relatable.

Along for the Ride follows an 18-year-old girl, Auden (Emma Pasarow), from her high-stress academic life to a laid-back beach town. First things first, does the movie stay true to the book? Yes, I guess, for the most part. Some things are omitted, most likely for time or to simplify the plot. However, these cuts may have oversimplified the plot; without additional characters and their side quests (haha, if you know, you know) the story feels a little… empty.

I think the film did an okay job with the parents’ story, although it felt, at points, the cast (Dermot Mulroney in particular) gave up mid-performance. Andie MacDowell plays the hardened, elitist feminist Victoria, a.k.a. Auden’s mother, and Mulroney plays the father, Robert. MacDowell so often plays the easy-going, fun-loving girl next door it was interesting to watch her do something else and, for the most part, I’ll say she succeeded. Mulroney felt more at home in his character – if only he were a little more committed to the script; Robert is a character who perfectly captures weaponized incompetence, a timely portrayal. Heidi, the pink-loving stepmom (Kate Bosworth), was portrayed well yet… absent? We got Heidi’s full story but somehow, she still felt two-dimensional.

I enjoyed Sarah Dessen’s Along for the Ride for its perspective on Auden’s parents’ failings and coming to understand how they did her wrong. I’m glad the movie didn’t cut this plotline, but at the same time, I’m not sure they did it justice. The movie also cut out Auden’s older brother who rounded out the parents’ story and spiced up Auden’s childhood.

Auden’s love interest Eli (Belmont Cameli) is a complex character…in the book. Don’t get me wrong, I still enjoyed watching the love story between these two but… it feels like they took a hacksaw to his personality and story. I don’t think the movie acknowledges once that Jake and Eli are brothers – something that added a splash of conflict to the original story (something the movie searches for). Also, we spend so little time with Eli and never see him without Auden’s presence or perspective, movie Eli has no chance to flesh out his arch. Instead, we’re given heavy-handed exposition from other characters and his contrived trauma response in a parking lot.

The friend group is a bit of a mess: Maggie’s arch (Laura Kariuki) felt rushed and then dropped, Leah (Genevieve Hannelius) and Esther (Samia Finnerty) were never given much but given they had nothing else to focus on their chemistry as a friend group could have been stronger, and making Esther queer was a nice touch but without seeing her be queer, what was the point?

The boys felt like afterthoughts: the Bike Shop name was a running bit in the book and came way too late in the film and reveal is so much less gratifying, which is another reason Eli needed time in his own space. We needed to see his story develop seperate from Auden and for his supporting cast to matter.

If you’re wondering what my take on the main character is, well… Along for the Ride took a look at the superiority complex of the elitist woman. Auden, like her mother, looked down her nose at the pink, frilly displays of femininity in the name of opposing the patriarchy. Auden’s arch works to show that their supposed superiority is misogynist. She discovers that even pink has layers; Maggie is more than what she seems, and so is Heidi. However, Auden in the film lacks an elitist edge to make her arc all that justifiable. Emma Pasarow’s performance is passable, but it doesn’t help the film’s dire need for tension.

I still enjoyed the film. I loved the book as a tween. It was part of an impressionable time for me and holds a special place in my heart. I just think the movie could have been better. I wouldn’t call it a flop era but it’s certainly surprising coming from the To All the Boys I Loved Before alum Sofia Alvarez. Her interpretations of those books were so tight that it’s irregular that this story feels loose or empty. That being said, Along for the Ride is her directorial debut, and in that case, Alvarez has done an okay job, and I hope she’s given opportunities to improve.

Upload: Upping the Game for these Hoes

By Isobel Grieve

On March 17, 2022

In Reviews, TV

I really enjoyed the first season of this Amazon Prime show, so the second season had a lot to prove. Greg Daniels has created countless incredible projects, so it’s not a surprise that this new venture is doing well. Upload’s first season has an 88% Critics Rating on Rotten Tomatoes and an 87% Audience score. Although the second season has significantly fewer reviews, the approval rating is going in the same direction.

I think I’m in the same boat with these reviewers.

The second season picks up right where the first season left us, but then we get a three-week time jump. I have conflicted feelings about this. On one hand, I see how this takes us back to the main storyline quicker. On the other hand, I’m intrigued to know more about this technology-less encampment and wish we had spent more time there dissecting its politics. Maybe in the third season, there will be more room to explore this part of the show’s sight for the future – I’m hoping so. I think the idea of a religious cult with a leader that has anarchist ideologies towards technology leaves a lot to be explored and endless means for writers to make current cultural criticisms.

I appreciate that Aleesha has been given a little more screen time and crusts of a storyline compared to the crumbs of last season. However, I still think that this show is greatly underusing Zainab Johnson. She’s a comedic and dramatic wizard who steals every scene she’s in. I want more!

They’ve somehow made Ingrid [Allegra Edwards] more annoying than she was last season. I know that’s the point of her character; she’s out of touch with reality, and her wealth gives her the power to control her ex-boyfriend’s life. Upload does a great job of making the viewer hate the rich. And I know this is a half-hour show; I know what that means in terms of limited space for nuance. However, I still feel that Ingrid, and the majority of the other representations of the ultra-rich, are portrayed as cartoonishly evil and unhinged. I think this representation does the message of the show a disservice. Even the ultra-rich have their moments of humanity – that’s what keeps them on top – kindness at the right moment. I think this show could use a smidgen of more humanity coming from its villains and performances that actually garner sympathy. Adding that kind of nuance will hit the message a homerun.

Nora’s [Andy Allo] story takes an interesting turn when she hooks up with Matteo [Paulo Costanzo]. I liked that Nora was taking on more rebellion, but I was sad when she was sucked back into the corporate system. It felt like Nora’s character evolved and then regressed. Matteo’s arc felt too sharp, as well. Their story together is why I wish we had more time in the three-week time jump.

Nathan [Robbie Amell] maintains being simultaneous: smart and a dumbass. I admire the loyalty to the character’s roots, but I wish he had more moments of “Eureka!”. He is supposed to be a brilliant coder, but the most we see him code is with the glitches and tools Nora gave him.

All criticisms aside, I enjoy this show: I like its concept and direction, I think the performers are great, the writers are doing a great job. I think this season’s cliffhangers are setting up a promising season three.

Side note: I think it is bonkers how many Amazon Prime Originals are about inhumane crimes committed by the ultra-rich when considering who owns the entire company.

You know what, Bezos, keep your enemies close, right?

Euphoria! Except…no. It’s not.

By Isobel Grieve

On March 2, 2022

In Reviews, TV

Season one of this ICONIC HBO show introduced the powerful characters and plotlines in this colourful, psychedelic world. We get character-specific episodes with background, drama, and beautiful cinematography.

Season two of this show starts with a bang and fizzles out with sparks here and there. It does not come close to the storytelling of the first season. There are various characters whose storylines are either left completely unresolved or sloppily taped together. Character decisions contradict the development in Season one. Sam Levinson knows how to frame a beautiful shot and delivers strong character moments, but he does not excel at overall story. It has become clear to me and many of the show’s fans that Sam is in over his head and needs help in the writer’s room.

In Season One, the character of Chris McKay [Algee Smith] had dedicated episode time to his backstory and his future. In Season Two, his character is essentially abandoned by episode two. We never hear from him again. Or his brothers, which is a serious missed opportunity for dropping story hints of a Euphoria gen ii focusing on them and Gia Bennett (the MC’s sister). Sam missed the opportunity to create a streamline into an iconic anthological series like UK Skins. McKay’s disappearance is also exceedingly disappointing because he is one of the mere sprinkles of POC characters on this show.

Kat Hernandez [Barbie Ferreira] is the only plus-size character on the show and her background/arc of Season One was a massive fan favourite. Yet, in Season Two, she’s barely a side character. We get one powerful scene where she’s imagining all the voices of internet influencers in her head creating this messy representation of the body positivity movement corrupted by skinnies. Then nothing. She breaks up with her incredible boyfriend who loves to eat puss-puss and dance. Then nothing. She dances on cam in her little black mask [iconic] for two seconds. Then nothing. She’s there when shit goes down, but she doesn’t do anything. There are rumours that Kat’s plotline took a darker route this season which Barbie disagreed with, so Sam cut down her role significantly. WOW. Disappointing.

Jules [Hunter Schafer] and Rue [Zendaya] are broken apart by a man… but not really, ultimately it’s Rue’s addiction that pushed Jules away. In my opinion, Elliot [Dominic Fike] was just…there. I think that Sam Levinson did an okay job presenting Rue’s addiction as it worsened. However, following episode five, one of the best episodes to date, it gravitates towards a hopeful outlook on addiction rather than a truthful one. After watching her father’s funeral dramatized on a stage only a week sober, you’re telling me she didn’t even try to relapse? If the point of Rue staying sober for the rest of the school year was to say that Lexi’s play gave Rue this whole new perspective, I need to SEE it. There are also numerous plotlines left wide open, i.e., her debts and memories lost. What happened in the hours between that bath with the massive morphine dose and waking up in the bed?

Like, oh my God. Okay, we get it. Cassie [Sydney Sweeney] fucked Nate [Jacob Elordi] because she’s depressed, insecure, and has subconscious male gaze ideologies about her value. Cassie wants Maddy’s [Alexa Demie] confidence – she wants the “unconditional love” that Maddy and Nate supposedly had. So, Cassie does her best to become Maddy or a version of Maddy that Nate wants. Not that complicated. He could have spent less time on that triangle and given us a better Kat storyline. Whatever.

Lexi! Lexi, Lexi, Lexi [Maude Apatow]. An icon. Sam did something right with her character. And that play?! AMAZING! Great character choices. The episodes with the play… a bit of a rerun. We get a little more backstory on Lexi, her relationship with the other characters and her trauma. It was a clever round-up of the story. However, it was repetitive in the grand scheme of both seasons and had no reason encompassing almost two entire episodes.

Sam Levinson wrote a beautiful backstory for Cal Jacobs [Eric Dane]. BUT a redemption arc for this character is not what the overall story needs. Understanding his motivations? Fine. Trying to make me feel sorry for the consequences of his actions because of that past? Unnecessary. He’s an adult. He made his choices. Also, as far as I’m aware, the United States law doesn’t arrest people who purchase prostitution services. They arrest those offering the services. In that case, the only evidence (THAT WE KNOW OF) Nate could have given to the police and have Cal arrested would be the video of Cal and Jules in the motel. However, in episode six, Nate gives Jules the DVD of that night and tells her it’s the original and there are no copies. Maybe Nate lied, but I don’t know for certain because the show didn’t clarify… What is Cal being arrested for, Sam?

My theory is that Sam Levinson wrote a season and ran into issues with the cast about the script. Maybe he already had a shooting start date and had to rewrite fast. I imagine that he didn’t have a chance to think things through until he was in the editing room with the footage he had shot. That’s why some of the episodes have lots of filler shots that set a ~vibe~ because Sam hadn’t written enough usable story. I also think that may be why some of the old plotlines from season one ended up with fast and messy conclusions.

I think I still like the show. I’m rooting for the characters. I want to see Rue figure her shit out, although I also want her addiction portrayed honestly and her narration explained by her eventual death at some point. And this all hinges on what Sam does with the third season. If he can’t flesh out the characters he abandoned and wrap up plot holes he forgot, I’m out.

Quick shout out to the incredible performances from the actors contributing to this project. They have done incredible things with what they’re given.

Abbott Elementary: Teaching Us Value

By Isobel Grieve

On February 8, 2022

In Reviews, TV

It airs Tuesdays on ABC, and everyone should be watching. It is created by and stars Quinta Brunson, who is absolutely hilarious! Her writing and performance show the makings of a new household name in comedy.

Abbott Elementary is a mockumentary-style show with side interviews, direct to camera side-eye, the whole shebang. This style of sitcom has created some of the most beloved sitcoms in recent years, like The Office (9 seasons), Modern Family (11 seasons) and Parks and Recreation (7 seasons). With all its heart and jokes, this new primetime sitcom has the potential to be on air for many years to come.

Centring around six faculty members at the sitcom’s namesake school, Abbott Elementary explores the failings of American Education Systems that lack proper funding and resources. In that sense, Quinta Brunson’s protagonist, Janine Teagues, is very similar to Leslie Knope of Parks and Recreation because she is determined to do with what she has and stay optimistic.

While taking place in Philadelphia, Abbott Elementary pokes fun at the education system’s failings while also critiquing those failings in earnest. The main characters’ dedication to the school and their students is enough to make you root for them. However, their character quirks and peaks into their personal lives make you fall in love with them, flaws and all.

Tyler James William is home in this genre: his delivery and facial expressions add a Jim Halpert (of The Office) to the mix. His and Quinta Brunson’s onscreen chemistry is palpable as a version of the quintessential The Office ship: Jam and Pam. They start very similarly to the famous Office couple: Brunson’s character, Janine, is in a long-term relationship with someone who does not fully appreciate her and William’s character, Gregory, pines for her quietly while offering friendship. It’s cute, it’s hopeful, it’s funny.

The senior teachers, Barbara (Sheryl Lee Ralph) and Melissa (Lisa Ann Walter), are depicted as thicker skinned and stronger stock than the younger teachers. Janine idolizes Barbara and thinks of her as a mentor. Although Barbara will guide Janine, when need be, she is reluctant – why? Well, Barbara has plenty of other things to do. Her expert with children is clear from the get-go as her children are always much more well-behaved than the other classes. Melissa is the Italian with all the underground connections. Melissa is harsh but fair – the kind of woman to take no crap because she’s done that before, and what had it gotten her? Nothing.

The useless but hilarious principal, Ava, is played by comedian Janelle James whose stand-up comedy style shines through in her performance. Ava is nothing but laughs whenever in the room, her ego is huge, her sexual energy is on fire, and her money handling is terrible. Ava is the perfect stand-in for government incompetence regarding the support of public-school teachers in the United States.

Quinta Brunson has created something that wide audiences can enjoy. Majority of westerners have been to school and understand the kind of hoops teachers jump through to provide proper education. Teachers are fundamental in growing up: most people have fond memories of when learning clicked for them at school. Yet, teachers are extremely underpaid for the hours and effort they’re putting into their classrooms and extracurriculars. Abbott Elementary is hopefully a beacon for people to realize that schools and teachers deserve better resources, and the children need a healthy, stable learning environment to thrive.

My Favourite Films to Come Out in 2021

By Isobel Grieve

On January 18, 2022

In Movies, Reviews

Finding ‘Ohana – released January 29th, 2021

Directed by Jude Weng [Black-ish (2017-2022)]. Written by Christina Strain [Shadow and Bone (2021)]. Starring newcomers Kea Peahu as Pili and Lindsey Watson as Hana, Alex Aiono as Ioane [Doogie Kamealoha (2021)] and Owen Vaccaro as Casper [Daddy’s Home (2015)]. Withing supporting actors Kelly Hu as Leilani [Young Justice (2011-2021)], and the iconic Branscombe Richmond as Kimo.

“A summer in rural O‘ahu takes an exciting turn for two Brooklyn-raised siblings when a journal pointing to long-lost treasure sets them on an epic adventure with new friends and leads them to reconnect with their Hawaiian heritage.” [IMDb]

In my opinion, this movie is seriously underrated. Why aren’t more people talking about this movie?? It reminds me of older Disney children’s adventure movies but with more cultural significance and without active colonization, lol. This movie has a similar spirit to Spy Kids (2001) or Nanny McPhee (2005). The kids in it are daring, cunning, but in need of a good lesson. It offers a heartfelt message about the sacred lands of Hawaii and their significance to their people. The story pulls the characters back to their culture and roots which, naturally, pulls their family back together.

I think Kea Peahu is one to watch, considering she must have only have been 13/14 years old when filming, her performance is key to this story’s touching moments. Peahu and Alex Aiono created convincing sibling chemistry that was a pleasure to watch. With Jude Weng’s extensive directing resume, including family sit-com Black-ish, Weng has again nailed directing teens with heartwarming, comedic, and emotional performance intelligence. I will gladly take another movie directed by Jude Weng and written by Christina Strain because this pairing has clearly hit a sweet spot.

@Zola – released June 30th, 2021 (Canada)

Directed by Janicza Bravo [Lemon (2017)]. Written by Bravo, and Jeremy O. Harris [The Amateur (2014)]. Based on tweets by A’Ziah King. Starring Taylour Paige as Zola [Ma Rainey’s Black Bottom (2020)], Riley Keough as Stefani [Mad Max: Fury Road (2015)], and Nicholas Braun as Derrek [Succession (2018-2021)].

“A stripper named Zola embarks on a wild road trip to Florida.” [IMDb]

I remember an ongoing conversation on Twitter back in 2015 about the Twitter thread by A’Ziah “Zola” King about her wild experience with a girl named Stefani. She then was featured in a Rolling Stone article called “Zola Tells All: The Real Story Behind the Greatest Stripper Saga Ever Tweeted” by David Kushner. The IP was acquired in 2016 with James Franco signed on to direct. That choice put the project on hold until 2018 due to sexual allegations against Franco, he was then replaced by Janicza Bravo, and A24 was named the distributer. Thank you all-mighty powers of the universe that Franco did not turn this into another rendition of Spring Breakers (2012).

This film features incredible performances from the whole cast. It’s dark, comical, realistic, yet artistically executed. The film features some narration from the two leads offering alternative narratives. The attention to detail with character development was astounding. The scene that stands out to me takes place in the bathroom on their road trip to Miami, where Stephani shows no grievances to the unhygienic stall, and Zola takes all precautions, also highlighted here is the difference in the colour of their pee.

Riley Keough’s performance adds nuance to the film when her character Stephani gets emotional and suddenly breaks from the overt Black-cent she sports for the rest of the film. I also liked the artistic touches to include Twitter notification sounds occasionally pinging throughout the story beats and the narration that is ether directly pulled from the tweets and written in the voice of the original Zola. It very much reads like walking into the hazy tweet by tweet thread Twitter users obsessed over in 2015.

Black Widow – released July 9th, 2021

Directed by Cate Shortland [Lore (2012)]. Written by Eric Pearson [Thor: Ragnarök (2017)]. Starring Scarlett Johansson as Natasha Romanoff, and Florence Pugh as Yelena Belova.

“Natasha Romanoff confronts the darker parts of her ledger when a dangerous conspiracy with ties to her past arises.” [IMDb]

A lot was leading up to this movie coming out, for that reason, it really matters to me. It is not a work of significantly great storytelling… but it is an epic peace offering from Marvel to the Black Widow fans devasted by her death in Avengers: Endgame (2019). Amongst the hot-headed male characters centring in the MCU (Marvel Cinematic Universe) for so long, Black Widow (Natasha Romanoff), despite all her poorly written character arcs, will always have a special place in my heart.

I appreciate that it was directed by a woman, but I am also a little peeved that it was written by a man. Considering that one of the “Story by” credits is a woman, Jac Schaeffer, and the director is a woman, I find it very hard to believe that the movie needed to be written by a man. Like, why?

The story follows the same formula as all other MCU movies; which was a disservice. Natasha Romanoff is a spy, not a superhero; she doesn’t have superpowers, she has a specific skill set that would have been entirely better memorialized by an espionage/spy movie than the big boom-boom movie MCU insists on making repeatedly.
However, I did fall in love with Florence Pugh all over again while watching this film because her performance is by far the best, from her comedic timing to empathetic little sister emotional moments she had me.

Regardless of the movie’s downfalls, we stan this new generation of Black Widows, including Florence’s part in the recent Disney+ series Hawkeye (2021) and the sly (suspected) appearance of many more widows in the post-credit scene of Shang Chi: The Legend of the Ten Rings (2021).

Gunpowder Milkshake – released July 14th, 2021

Directed by Navot Papushado. Written by Papushado and Ehud Lavski. With an all-star cast: Karen Gilan as Sam, Lena Headey as Scarlet, Carla Gugino as Madeleine, Michelle Yeoh as Florence, and Angela Basset as Anna May.

“Three generations of women fight back against those who could take everything from them.” [IMDb]

Despite being written by two men. Despite being directed by one of those men. I really, really liked this movie. It’s giving Japanese manga and anime-inspired with the set design and fight choreography. The colour palettes are bright, playful, and highly contradictive to the significant bloodshed.

I’m tired of gender-swapping old action/adventure male led hero flicks. I think women deserve new storytelling and character work in action and this movie really delivers. I think it deserves more attention and at least two sequels.

The performances are incredible. We know that Karen Gilan is an action star from her work in the MCU as Nebula and in the Jumanji franchise as Ruby and Martha. I’ve enjoyed her style since her stint on BBC’s Doctor Who. Gilan’s performance in this movie is expert, she’s nailed emotionally stunted assassin. You can never go wrong when hiring the rest of these highly sought-after ladies. Lena Headey plays a hardened mother (her speciality), Carla Gugino is warm with her twinkling eyes, Michelle Yeoh is… is… I mean, she’s fucking incredible in everything, and the same goes for Angela Basset. Gugino, Basset and Yeoh are really supporting characters not leads but they’re so talented and compelling they steal every scene they enter. When they killed off Gugino, it broke my heart, I knew they were going to kill one of them, that much was obvious in a scene preluding the epic battle in the library, but it hurt, all the same, to see her twinkling eyes fade.

Last Night in Soho – released October 22nd, 2021

Directed by Edgar Wright [Scott Pilgrim Vs The World (2010), Baby Driver (2017)]. Written by Krysty Wilson-Cairns [1917 (2019)]. Starring Anya Taylor-Joy [Emma (2020)] as Sandie, and Thomasin McKenzie [JoJo Rabbit (2019)] as Eloise.

“An aspiring fashion designer is mysteriously able to enter the 1960s where she encounters a dazzling wannabe singer. But the glamour is not all it appears to be and the dreams of the past start to crack and splinter into something darker.” [IMDb]

I had the pleasure of watching this in a theatre and I think the large screen and booming sound system did wonders for its stylized thrilling plot. Edgar Wright has a history of using colour palettes to help tell a story or elevate the drama which he does here once again. The performances from leads Taylor-Joy and McKenzie are extremely compelling. The expertly written unravelling of story and character becomes all the more impactful when hit by the twist ending.

Eloise, the present-day protagonist, actually being possessed by the Landlady’s (Ms Collins played by Diana Rigg) past self, Sandie, had me ~shook~. I really thought Sandie was going to be a murder victim, not the serial killer herself. I thought this twist was an incredibly well thought out critique, it both condemns the behaviour of the men who groomed and abused her while also breaking the black and white moulds of sexual violence victims popularized by the media, i.e., the Saint or the Whore. Ms Collins/Sandie became someone I both felt for and feared. She was a mix of the stereotypes being both the innocent victim and the femme fatale.

While the big reveal is entirely linked to the past, the ever-present Eloise by the end of the film can accept her whole self. She’s learned to embrace her gift positively, she honours the memory of the woman who showed her the truth of her fantasies and has embraced her support system which grounds her in reality.

The French Dispatch – released October 22nd, 2021

Directed by Wes Anderson. Written by Anderson, story by Roman Coppola, and Hugo Guinness. With an all-star cast: Benicio Del Toro as Moses Rosenthaler, Adrien Brody as Julian Cadazio, Tilda Swinton as J.K.L. Berensen, Lea Seydoux as Simone, Frances McDormand as Lucinda Krementz, Timothee Chalamet as Zeffirelli, Jerfferey Wright as Roebuck Wright, Mathieu Amalric as The Commissaire, Bill Murray as Arthur Howitzer Jr., Owen Wilson as Herbsaint Sazerac, Tony Revolori, Bob Balaban, Henry Winkler, and more.

“A love letter to journalists set in an outpost of an American newspaper in a fictional twentieth-century French city that brings to life a collection of stories published in “The French Dispatch Magazine”.” [IMDb]

I love Wes Anderson’s style of directing and writing. There’s something about the way he styles his projects that brings me joy, no matter the subject matter. He’s made a solid name for himself as quirky queen, in my eye at least. The French Dispatch is a well-rounded collection of short stories brought together by their publication.

Timothee Chalamet’s part is much smaller than I feel I was led to believe by the press coverage of this film, but I liked his role and performance as always. The story’s format puts all of the major, star-studded cast into small roles. Almost as if the film is a festival of short plays narrated by the author. The switching between aspect ratio and colour to black and white was very stylistic and served some areas of storytelling but – in my opinion – did not add further meaning.

The film is quite fragmented, filled with small character studies of the varying writers who work for the publication “The French Dispatch”. The overall story is of the last publication following the death of the Editor in Chief played by Bill Murrey; We start with the reading of his obituary, and we end with the writers beginning to write the obituary. Which feels like a loose connecting arch for the stories in-between. I still enjoyed the movie, but it lacked an overall narrative – for me.

The Harder They Fall – released November 3rd, 2021

Directed by Jeymes Samuel [They Die by Dawn (2013)]. Written by Samuel and Boaz Yakin [Now You See Me (2013)]. With an all-star cast: Jonathan Majors as Nat Love, Zazie Beets as Mary Fields, LaKeith Stanfield as Cherokee Bill, Regina King as Trudy Smith, and Idris Elba as Rufus Black.

“When an outlaw discovers his enemy is being released from prison, he reunites his gang to seek revenge in this Western.” [IMDb]

I was on the edge of my seat the entire time. Clearly, Jeymes Samuel knows how to do a fucking Western. From the dialogue to the set to the music to the use of colour, the absence of colour, damn. I’m a fan of action, I enjoy a bit of physical conflict, but I’m not without my limits when it comes to gory violence. I thought that the use of violence in this film felt extremely purposeful; behind every blow was the intent, character development/reveal, and even guilt and internal conflict. There was depth to the violence that I can now see as missing in most other action films I’ve seen.
Throughout the story, you’re patiently waiting for the showdown between these two outlaw groups. Jim Beckwourth’s (RJ Cyler) biggest dream is to be known as the fastest shooter, a spot held by Cherokee Bill. Their shootout is over in seconds as Cherokee Bill is the kind of man to shoot another in the back, a gruesome character flaw that can only be revealed by violence. It’s his greatest desire to survive, I suppose, he’ll stop at nothing to stay alive even if it means throwing the only chivalrous laws of the Wild West to the waste side.

With Rufus Black and Nat Love’s showdown, the whole time you’re wondering who will prove to outwit the other. In the end, your head spins with a brother reveal. I mean, come on! Sure, you’re wondering the whole time why Rufus Black was so cruel to a God-loving family minding their own business but his reputation is so carefully bolstered throughout the film, it’s just as easy to chock it up to a violent personality with some childhood trauma. Of course, some of that’s very accurate but the personal intent is so raw: the great revenge is finally taken only in the aims to keep the cycle spinning. Nat Love finally takes his revenge on Rufus with great emotional turmoil, and as their crew rides off into the sands, we see Trudy Smith watching, plotting her own, a true continuation of the cycle.

I really loved the women Samuel and Yakin have written. You’ve got two entrepreneurs with Mary Fields, and Trudy Smith. They own the west with their thriving saloons. I guess it’s only fitting that these business rivals have their own showdown, but I am a little disappointed that these two dress-wearing women’s big showdown is with each other. It’s common in a lot of action films written by men who want to include women but don’t realize that it’s okay to let your bruting male characters fight the female characters to just pin them against each other. It’s easier. I understand with the way they’ve written each character that it doesn’t feel at all thrown together as a fight scene, there’s still intent, history and emotion in each blow… but still.

My favourite character is Cuffee (Danielle DeadWyler). Are they trans before there was transitioning? Is she a drag-king? Or is it simply a means of protecting herself in an unruly place for lone women. I don’t know because we don’t get enough from this tight-lipped marvel of a character who gets Cherokee Bill in the end, beating him at his own game in revenge for her fallen friends.

I honestly think I’ve found one of my new all-time favourite action movies.

Encanto – released November 24th, 2021

Directed by Jared Bush [Moana (2016)], Byron Howard [Tangled (2010)], co-directed by Charise Castro Smith [The Haunting of Hill House (2018)]. Written by Smith, and Bush, story by Howard. Another all-star cast: Stephanie Beatriz as Maribel, Maria Cecilia Botero as Abuela Alma, John Leguizamo as Bruno, Diane Guerrero as Isabela, Jessica Darrow as Luisa, Angie Cepeda as Julieta, Carolina Gaitan as Pepa, Wilmer Valerrama as Agustin, Ravi Cabot-Conyers as Antonio, Rhenzy Feliz as Camilo, TK. Newcomers Mauro Castillo as Felix, Adassa as Dolores, tk.

“A young Colombian girl has to face the frustration of being the only member of her family without magical powers.” [IMDb]

This story is incredibly moving. It establishes a great parallel to migrant families, and refugees dealing with intergenerational trauma stemming from their need to move their homelands. The idea of each offspring being granted a magic power is akin to the pressure put on 2nd and 3rd generations of migrant families who wish for a better life, that these generations must contribute in their own way to the elevation of the family’s situation.

When Maribel does not receive her miracle power, she is now the outcast, the pushed aside who can not conform to the family’s way of living. Her mere existence cracks the foundation of the family’s functioning, yet not so functioning, system. If anything, Maribel being without a magical power only shed light on the issues that other family members have been feeling for some time.

Every song comes with its own tear-jerking moment or cheering triumph. Every character felt fleshed out, despite spending limited time with some. The family felt like a real family, each character being quite unique with their own history and struggles. I genuinely loved, loved, loved this movie!

Lula-Row Me to Safety

By Isobel Grieve

On September 22, 2021

In Movies, Reviews

I binged LulaRich last night and was enthralled. I have always been sceptical of Multi-Level-Marketing companies. I think in today’s society brand awareness is too often tied to “lifestyle” and aesthetics. These MLM scheme’s turn into cults of people (speculatively mostly women) who eat, sleep, breathe the product they sell because it requires a specific “mentality”.

Watching the LulaRoe scandals pile up through this limited docu-series had predictable endings. Still, my jaw was agape. Directors Jenner Furst and Julia Willoughby Nason did an incredible job putting together a piece that explores, exposes, and entertains. The lighting, colour, and overall look of the documentary is appealing to the eye. The editing captivates the viewer.

The people they chose to interview outside the founders of LulaRoe were all high ranking or closely related employees with valuable stories and information, character and charisma.

The most meme-able talking head is Derryl Trujillo, an ex-data entry and customer service representative at LulaRoe. He has many memorable lines throughout the series.

Also, thank you Becca Peter for making me feel seen. She essentially had nothing to do with the company, scandals, or lawsuits but personally investigated the ongoings, failures, and tea related to the company. Apparently, by doing so, she garnered enough knowledge to be deemed an expert on the topic by the documentary’s directors. Becca Peter and I have obsessive research in common.

Lularich3

There are some heart-wrenching moments throughout the series where you see previous retailers detailing how LulaRoe left them bankrupt or caused rifts in their relationships. According to the series, LulaRoe has had over 50 lawsuits put against them, including one from the State of Washington. In the mix of these suits, they have claims of defective clothing (mouldy, stinky, damaged) and refusal to payout refunds.

If anything, what this documentary sheds light on is the slippery skin of MLM company CEOs. If LulaRoe can remain operational after all this and Washington State filing against them, there’s no true justice for pyramid schemes, and MLM companies need better regulation.

I know I’m late to the party! But hey, I’m Trying.

By Isobel Grieve

On August 5, 2021

In Reviews, TV

Trying Review – Spoiler Warning

I’ve always been reluctant to watch shows my sister recommends, and then I’ll eventually try them and wish I’d joined the wagon sooner. My sister recommended Trying on AppleTV+ to me a while ago but I was hesitant. It sounded like something I wouldn’t relate to but recently we were trying to spend more time together before she moved, and we binged the first and second seasons.

Well… I really enjoyed it. Its rated 73% on Google, 7.7/10 on IMDB, and 93% on Rotten Tomatoes. Seems like I’m not the only one.

Rafe Spall plays Jason Ross, an English as a foreign language teacher who’s mocked for sticking with a job most 20-somethings only have for their gap year into his mid-30s. Esther Smith plays Nicki Newman, a happy-go-lucky car rental salesperson. Their relationship’s origin story is a little messy on Jason’s end, but they remain extremely strong together throughout both seasons.

The title, Trying, stems (mostly) from the protagonists’ journey into parenthood. After a failed IVF trial, their determination to start a family leads them to adopt. Through the first season, we follow the process of them being approved for adoption. Through the second season, we follow the process of them getting a child.

The show primarily focuses on Jason and Nicki, but they are surrounded by an entertaining, quirky support system. Their best friends, Freddy (played by Oliver Chris) and Erica (played by Ophelia Lovibond), have two children and run into marriage problems following the birth of their second. Nicki’s sister, Karen (played by Sian Brooke), has a boyfriend, Scott (played by Darren Boyd), whose flat-out unlikeable but eventually grows on you.

There are standout performances from Jason’s parents: Victor Ross (played by Phil Davis) and Sandra Ross (played by Paula Willcox). The first season presents them as very upper class and distant. The second season reveals a deeper story. Victor’s love language is acts of service; he may not be the deepest conversationalist, but he will fix everything and anything in Jason’s flat. Sandra clearly has childhood trauma from her mother who dies in the second season; her anger and grief connect her and Nicki. They bond while tearing apart an old shed and screaming. It sounds ridiculous but is very touching.

The most heartwarming character out of the bunch is Jason and Nicki’s social worker, Penny Wootton (played by Imelda Staunton). Staunton’s portrayal of this hardworking, hard-loving woman is a far cry from her notorious portrayal of Professor Umbrage in the Harry Potter franchise. She is chaotic, poised, charming, and motivating. She takes our protagonists under her wing and fights for them. It makes me well up just thinking about it.

Trying is a touching half-hour dramedy that makes you go from laughing to crying in seconds. It seems AppleTV+ knows what they are doing when funding projects like this, Ted Lasso, Dickinson and the new Schmigadoon! Apple is creating a name for itself in the realm of comedy half-hour. Surely they will be considered a must subscribe soon, if not already.

I know I talk a lot about performances, but a good tv show is more than that. The creator, Andy Wolton, impressively has a shortlist of credits for having such a successful series with a major company like Apple. The third season of Trying was greenlit two months before the second season hit the streaming platform. I think if he has anything else on the backburner that breaths like Trying, he’s headed towards a very blissful, rewarding career in half-hour.

Trying‘s colourful palette complements the warmth the characters bring to their stories that feature such deep sadness. The opening credits remind me of the early 2010s when Indie music and ukuleles were all the rage. It has an aged hipster vibe that is comforting instead of mocking. Even the rows of townhouses the protagonists live in are coloured in bright pastels and the markets they shop at feel stylized but real. The show is aesthetically pleasing as much as well written and performed. Something, I feel, is often overlooked in broadcast television.

Overall, I say go watch Trying. It is absolutely incredible.