![]() Jerry and Marge Go Largeĭirected by David Frankel ( The Devil Wears Prada) and based on real-life events, this comedy makes the most of Annette Bening and Bryan Cranston, who play retirees who find a loophole in a lottery and use the winnings to revitalise their fraying Michigan town. It’s a frisky concept, if somewhat unevenly developed, and the ending definitely stays true to the genre. I Want You BackĬharlie Day and Jenny Slate strike sparks in this scrappy independent rom-com, which adds a hint of Hitchcock’s Strangers on the Train to a story of two newly dumped singles who not only bond on their shared state but decide to befriend each other’s exes and sabotage their new relationships. You don’t need to be a hoops fan to follow the familiar story, but fans will pick up on a slew of famous cameos. With the assistance of Ana de Armas, who was actually in the last Bond film, they create a lot of rubble.Īdam Sandler’s Netflix originals have a disorientating range – Uncut Gems and The Ridiculous 6 belong on different planets – but in this sports redemption tale, he delivers a solid performance as a frustrated basketball scout for the NBA’s Philadelphia 76ers who stakes his fraying career on an unknown European prospect (former Utah Jazz player Juancho Hernangomez). He’s a CIA sociopath hunting a former colleague, a master assassin played by Ryan Gosling. ![]() This is an action film so imposing that it’s meant to kick off Netflix’s version of the 007 franchise, but despite Avengers: Endgame directors Joe and Anthony Russo reportedly spending $290 million, the trailer’s best special effect is the “trash ’stache” sported by former Captain America Chris Evans. When he elects to stay and guard it while assistance is fetched, circumstances spin out of control. Zac Efron’s chiselled leading man looks are blistered and battered as a transient worker who, along with a taciturn driver (director Anthony Hayes), finds a huge gold deposit. Shot in the scorching depths of the Australian outback but set in an indeterminate place and future, this concise survival tale is shorn of extraneous detail: names, back stories, and very quickly, hope. The film’s lineage goes back through Garden State to The Graduate, but it has welcome mix of eccentricity and empathy. Writer-director Cooper Raiff plays a drifting university graduate who forges a bond with an engaged woman (Johnson) and her autistic daughter. ![]() Cha Cha Real Smoothĭakota Johnson continues her pivot away from the faux-kink debris of the Fifty Shades franchise with a terrific performance, in turn hopeful and overwhelmed, in this independent feature Apple snagged from the Sundance Film Festival. Alternate take: this is secretly what every big-budget shoot is actually like. As Judd Apatow comedies go, this is no Knocked Up or Trainwreck, but this COVID-era comedy about a Hollywood franchise production happening in chaotic lockdown has such an enjoyable and unexpected ensemble cast – Karen Gillan, David Duchovny, Keegan-Michael Key, Kate McKinnon, Pedro Pascal and Peter Serafinowicz plus some bonkers cameos – that it’s not too hard to find enjoyable scenes as everything runs off the rails.
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