What’s it about? Natalie is a no-nonsense architect living in New York whose sole focus is her career. When an attempt to thwart a mugger leaves her with a concussion, her world opens up in a surprising way that flips dreary for pastels and romance. The only problem? Natalie wants back to reality!

Natalie is a little girl, obsessed with love – specifically the kind she sees in rom-coms. That is until her mother (Ab Fab’sJennifer Saunders) gives her a harsh dose of reality, saying, “They’ll never make movies about girls like us. It would be too sad; they’d have to sprinkle Prozac on the ice cream. There are no happy endings.” And with that, Natalie clicks off Pretty Woman and clicks on her version of real life.

Fast-forward to adult Natalie (Rebel Wilson), who’s never shaken the harsh lesson her mother taught her. Though she’s successful, she’s still overlooked; often taken advantage of and treated like an assistant, even though she’s an architect at her firm. When a super-hot new client, Blake (Liam Hemsworth), breezes in and treats her like crap, it only solidifies her world view, despite the fact that her sweet coworker, Josh (Adam Devine), constantly tells her she’s awesome. It’s only when a subway flirtation goes seriously awry (resulting in a mugging that leads to a concussion) that she begins to see herself in a whole new light. But is the constant glow what she really wants?

This is the unique premise behind the rom-com spoof, Isn’t It Romantic, the delightful new comedy directed by Todd Strauss-Schulson, and written by Erin Cardillo, Dana Fox, and Katie Silberman. Even if you don’t necessarily know those names, you most likely know their work – The Final Girls, Netflix’s Set It Up, What Happens in Vegas, and How to Be Single are a few of the titles under their belts. These are people who have studied every nuance of rom-coms, and their dedication and love of the genre shows. No trope is left unturned, from the requisite gay best friend (played hilariously by Brandon Scott Jones), to a karaoke scene, to the slow-mo “run to find the one you love” – they’re all here, and done to a T.

Also spot-on is the casting, headed by the aforementioned Rebel Wilson, Liam Hemsworth, Adam Devine. (Dare I say it’s pitch perfect?) There are so many standouts here, I may as well just link you to the IMDb page to save time on listing everyone in the film. Another bonus is the lean runtime of approximately an hour and a half – leaving room for a ton of laughs and zero plot fatigue. (It’s so fun; if anything, most of us were left wishing it was a bit longer.)

Though I was hard-pressed to figure out why Natalie was so desperate to return to her regular life – why not stay in this technicolored perfection? – it was still a blast watching her try to groundhog her way back to gritty realness, albeit with a few important upgrades. Even cynics will appreciate the winks at several well-trodden films, and the movie may even pick up some new fans along the way.

Verdict: This is an absolute blast, sparkling from beginning to end. Whether you’re a die-hard rom-com fanatic or a casual fan, you’re guaranteed a good time. Who can argue with that? (This post originally appeared on MovieBoozer– click on the link to check out this awesome site!)

I have to admit that I was greatly looking forward to seeing Jennifer Lopez in Second Act. The sparkling J-Lo heading a workplace romp with Milo Ventimiglia as her love interest to spice up the winter doldrums? Yes, please – I’ll take two helpings!

I settled into the packed theater with high expectations, despite the fact that I was at a matinee filled with senior citizens who all seemed to have colds. (Age was not a factor in my frustration – but the obliviousness of volume of conversations being had, coupled with my germaphobic leanings, made it decidedly unpleasant.) “But it’s all okay,” I thought, “Soon I’ll be laughing my ass off!”

Plans to get swept away were quickly scrapped. Second Act starts off promisingly enough, with J-Lo sporting updated mall hair to signify her station in life, and her bestie, Leah Remini, spouting off as her sassy sidekick, Joan. I assumed I was in for Working Girl, part 2…

And for a moment, I was. When Jennifer’s character, Maya, gets passed over for a promotion, she quits her job in typical kick-ass fashion and is immediately hired by a fancy NYC makeup conglomerate. (Stealing a page from the terrible I Feel Pretty?) And boom – we have a classic “single gal, navigating the Big Apple while dominating at work” trope. (I crave that shizz – it’s like candy to me. I will repeatedly rewatch/binge on Sex & The City until the day I die, so I was definitely down for this part of the plot.)

Sadly, the film loses its way midway through, when the director and scriptwriters veer from Working Girl remake to maudlin Lifetime movie (with absolutely no humor or awareness about it). Direction is forgone; instead the focus shifts to a random sub-story that, unfortunately, is entirely uninteresting. And that is a damn shame. Someone should be fired for squandering J-Lo’s time and talent. Ironically, J-Lo serves as an executive producer on the project, so perhaps the one who needs reminding of her worth is Lopez herself.

Read my full review at MovieBoozer here, and chat with me on Twitter! xo

What can I say about The Princess Switch other than it is the holiday cheese that you need? If I were to embody this film physically, I would create it just like this:

And really, would you want it any other way? The Princess Switch is the comfort food of the holiday season – you know it’s a little bit bad for you, but it’s a tradition and you’re going to go for it anyway, all while enjoying yourself immensely.  There are no surprises coming for you here – the plot is so obvious, it could be seen from space. But heck it’s not Halloween, and we’re not looking for jump scares. We’re looking for time to cozy up by the fire and return a few texts while we zone out and momentarily retreat from the stress of Christmas shopping. And on that, this flick delivers in spades.

Vanessa Hudgens is the real treat here – she is more than game to embrace the implausibility of this story, and she plays both freewheeling commoner Stacy and uptight duchess Margaret with equal aplomb. Yes, it is all ridiculous. But you won’t be able to stop yourself from grinning ear to ear, so queue it up and give in. You’ll be glad you did! My full review is available here at MovieBoozer, so check it out. xo

 

[This rant contains spoilers.]

Sometimes I see a movie and I just can’t keep my mouth shut. Such is the case with Leave No Trace– the gorgeous, quiet film by Debra Granik (based on the novel My Abandonment by Peter Rock). It debuted to rave reviews and is Granik’s follow-up to the Oscar-nominated Winter’s Bone.

I was excited to see this film – the lush scenery of the local Portland parks called to me, and I was curious how my hometown was going to represent. As expected, the cinematography is stunning, and I was suitably embarrassed that such riches exist in my backyard that I have yet to take full advantage of. No wonder everyone is moving to Oregon – it’s freaking awesome! However, despite the stellar reviews, I had a deep problem with the movie – so much so that I was compelled to pen a rebuttal. Below are my thoughts.

The plot revolves closely around the unshakeable father/daughter bond of Will (Ben Foster) and Tom (Thomasin McKenzie), who live off the grid in Forest Park. Will, a war veteran who suffers from PTSD, cannot stand much human contact, and has raised Tom the only way he knows how – completely alone. (Tom’s mother is briefly alluded to – she’s passed away, but it is not mentioned how.) The movie opens in near silence as we watch the duo seamlessly do chores around their tiny campsite, making their connection clear from the outset.

Amazingly Tom never complains – she’s down to live completely isolated with very few comforts. (A square of chocolate is a big deal in her world.) Even when they make the trek to Portland, she doesn’t seem turned by civilization and willingly goes back to her tent at the end of the day. Obviously, this is the life she’s familiar with, but it is remarkable because we are also talking about a 13-year old girl. Think about that for a moment. I remember completely falling apart when I was separated from my Walkman for a few hours, which I’d declared my “best friend.” (Yes, I just said, “Walkman.” And yes, I’m old.) Of course, I was raised in the suburbs with a completely different set of expectations, but there’s a part of me that thinks people are people – and there are certain things young women want. (Not a Walkman, but a burgeoning connection to their peers, in one way or another.) Also, am I the only weirdo who was thinking about Tom’s rapidly approaching (if not already arrived) period? Was her dad going to force her to use moss as a tampon? Surprisingly the plot did not touch on this – but it would’ve if I was in charge!

Along the way, there are glimpses that Tom has begun to long for more. There’s a small, touching scene when she finds a simple necklace (a silver seahorse on a black cord) on a trail and asks Will, “Can I keep it if it’s still here when we get back?” He agrees, and she tries to bury it under some bark. He catches her and makes her leave it out in plain sight. It’s a moment that highlights their honesty and commitment to simple living, but it’s also a glimmer into the desire for material possessions. She has so little, and she just wants this one thing – the longing is stark. (Happily, the necklace is later shown around her neck. Girlfriend deserves some bling!)

When Will and Tom finally get caught and are forced to leave the park, they luck into a plush housing situation, thanks to a dedicated case worker and the kindness of a stranger who’s willing to provide them a home in exchange for labor on his Christmas Tree farm. The house is lovely and spacious, but for Will it might as well be a straitjacket. His misery is palpable as he sits on the edge of his bed – what should be a relief is clearly worse for him than his tent. However, this is where Tom begins to blossom –she’s exposed to societal norms for the first time, and she likes it.

Needless to say, this situation doesn’t last long, with Will forcing them to leave in the middle of the night. And this is where I began to get seriously irritated with Will. He has the right the raise his child in (virtually) any way he sees fit, and this is also in no way meant to make light of PTSD. (My father fought in the Vietnam War and I take the sacrifices veterans make very seriously.) That said, I wanted scream at the screen, “Buck up, dude!” (Ah, eloquence.) For Will, despite his serious disorder, still seemed capable of functioning fully as a parent. There’s no doubt our society is fucked up and that the never-ending pursuit of money has absolutely made this world a compromised place. I get not wanting to take part in that, if one is able. But here’s the thing – you have a child, and that child should come first. Will, in many ways, refuses to make that sacrifice.

After leaving the work-for-shelter setup, things continually spiral into danger. They’re constantly on the move, with winter rapidly approaching. After a near disaster, where Will nearly loses his life, they find solace in a trailer park deep in the woods, hosted by another kind stranger. This is the perfect compromise – Will is surrounded by nature, while Tom has access to shelter and the comforts of societal interaction. (The other members of the park meet each evening for potlucks and music by a shared campfire.) And yet… it’s still not remote enough for Will. He wants to move on, yet again.

This is where Tom finally puts her foot down, essentially becoming the parent. This lifestyle is not appropriate for a child, and she can no longer continue to cleave to her father’s selfish tendencies. For, let’s be honest, that’s what this is. Pure, unadulterated selfishness. Again, I’m not here to make light of PTSD. But there is help for that disorder – specifically in EMDR therapy, derived solely to relieve patients of anxiety. But Will doesn’t seek that out – or any help at all. Instead he continues to expect Tom to live the way he wishes, despite how unfair it is to her.

Worst of all, he leaves her! Yes, he leaves his 13-year old daughter behind at a trailer park full of relatively unknown people because he simply cannot be a part of any kind of group at all – not even one as benign as this sweet band of recluses. And that really pissed me off. (Yes, I know it’s a movie. I’m not going to Dan Quayle vs. Murphy Brown you. What in the hell is that reference? More proof that I’m old!) To find no relief in the minimal shelter in the woods and, much worse, to make no effort to even try to embrace the compromise for Tom made me hate Will.

At the end, they walk into the woods together one last time, exchange a tearful hug, and then head in opposite directions (literally and figuratively). Hello! This is your CHILD. This is not some girlfriend who you’ve reached the end of the road with, emotionally. This is your offspring that you have a responsibility to protect, above and beyond yourself. Will thinks he’s bucked the system, but really he’s embraced it as much as any capitalist. He refuses to see beyond his own male entitlement, and there’s no escape from that, no matter how far you hike.

When the monthly lottery came around at MovieBoozer, I thought for sure I’d put myself up to review the revamped Halloween, with Jaimie Lee Curtis reprising her role as the beleaguered Laurie Strode. Who doesn’t want to see Laurie kick that pesky Michael Myer’s ass? But then I watched the trailer and something felt… off. As excited as I was, I couldn’t shake the darkness of the plot. Obviously it’s not going to be sunshine and daisies, but I found myself unable to embrace the thought of heading into the theater with my notebook to jot down my thoughts on the kills. But I was also didn’t want to skip an opportunity to write for a website I dearly love. I am deadline-driven and need assignments to thrive. What was I going to do?

Then I watched the trailer for Goosebumps 2: Haunted Halloween (a flick that was not even remotely on my radar) and something unexpected happened – I actually wanted to see the damn thing. The cleverness of bringing Halloween to life, costumes and all, looked like too much fun to miss. And that’s when it struck me – I wanted the perks of the spookiest holiday, without having to embrace the nightmares. Sometimes it’s okay not to go all in. With far too many scares happening in the real world, I was more than happy to kick back with Fright Lite ™  and it turned out to be the perfect compromise. It’s definitely not for everyone – I was one of the few child-free audience members in the mix. But if you’re craving something that’s not too taxing that will still signal your brain that fall’s favorite holiday is nearing, Goosebumps 2 could be for you. Read the surprising amount of words I have to say about it in my full film review, available at MovieBoozer now!

There’s been a dearth of rom-coms of late (save the fantastic summer blockbuster, Crazy Rich Asians) – it’s almost as if the genre has been as waylaid as the demographic it (mainly) represents. (You don’t have to look far to see what’s happening to women in the news these days.) So it was with great pleasure that I jumped at the chance when Juliet, Naked finally came to town. The film stars the gorgeous Rose Byrne, along with Ethan Hawke (yep, Gen X-ers, Hawke plays a grandpa in this flick!) and the ever-hilarious Chris O’Dowd – a buzzworthy middle-aged haven. (It turns out old people like to fall in love too. Who knew!) There are few plot surprises, given the trope – but that’s exactly what is supposed to happen. Romantic comedies are the comfort food of films – you don’t need the unpleasant surprise of ground glass in your cookie. You just want to enjoy the damn cookie. And Juliet, Naked let’s you have the whole bag, guilt-free. Perfect for a solo watch or date night. Read my full review, available at MovieBoozer now. xo