Author: jbg

PILLION (2026)

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Written & Directed By: Harry Lighton 

Based on The Book “BOX HILL” by: Adam Mars-Jones 

Cinematography: Nick Morris

Editor: Gareth C. Scales 

Cast: Harry Melling, Alexander Skarsgard, Lesley Sharp, Douglas Hodge, Jake Shears, Mat Hill, Nick Figgis, Zoe Engerer

Colin, a weedy wallflower letting life pass him by, meets Ray, the impossibly handsome leader of a motorbike club, who then takes him on as his submissive. Ray uproots Colin from his dreary suburban life, introducing him to a community of kinky, queer bikers and taking all sorts of virginities along the way. But as Colin steps deeper into Ray’s world of rules and mysteries, he begins to question whether the life of a 24/7 submissive is for him. Has he found his calling, or simply swapped one form of suffocation for another?

The film is less graphic than I expected it to be.

Even though it does start off with a little bit of a shock. Though sexually frank it shocks more with its moments of tenderness. That is more universal for us all. 

Though I think it uses the BDSM aspects of the relationship as shocking at first, but also to show a kind I’ve avoidance of intimacy, especially when it came to emotions which Skarsgard’s character seeks to avoid. 

As he loves control and power, where we and Harry Melling’s character are not sure if he keeps him around just because he’s a willing consenting victim of sorts or if he feels that this is his way of showing his attraction and care for him. As obviously Skarsgard character is a fantasy come true. Skarsgard plays up the hot hunk with no emotions to the hilt. He has played this before and seems willing to try most freaky roles and go for it. Though making them recognizable human eventually.

What is interesting is what plays out a more hard-edged cruel version of how most relationships are where at first it’s all about the attraction and the sex were one person usually has to take the lead. Hear the roles are more defined as in most relationships. They are either switched communicate communicated about or naturally happen.

Whereas most thing, what’s the worst I could happen will be something sexual here, the relationship relationships or sexual upfront, but more afraid of getting emotionally and personally involved. As it ruins the dynamic and the power-play.

For a film that seems like it’s going to be hard to take or heart edged. It’s got a surprisingly sweet spot and story. It might be mine, the audience of the film. SECRETARY now this film is a little more hard, edged around the heart, and not quite as romantic..

That we do see a relationship evolve. I believe some of the more interesting scenes are with Harry Melling’s character and his parents them wanting to see him happy but his mother who is dying of a terminal disease can tell something is off. We’re not quite right or not quite equal in the way, the relationship is by the end our premonition proves to be right.

This isn’t a film that one would expect where emotions will become a commodity that you in the audience might find yourself choked up in a good way over the film so I can give the film that much credit. As the audience gets involved way more than expected.

As by the end, though it does have a definitive ending it still leaves you wanting more be it in the form of revelations and answers. As by the end it ends up being a coming of age tale. As Melling’s character learns all sorts of lessons and breaks all kind of virginities of his own. 

Grade: B 

TWINLESS (2025)

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Written & Directed By: James Sweeney

Cinematography: Greg Cotten

Editor: Nik Boyanov

Cast: James Sweeney, Dylan O’Brian, Aisling Franciosi, Lauren Graham, Chris Perfetti, Tasha Smith, Cree, Katie Findlay, Kody Harvard

In Twinless, two young men meet in a twin support group and form an unlikely friendship. Roman and Dennis both search for solace and an identity without their other halves and soon become inseparable outside the group. But when Roman meets Dennis’ ebullient co-worker, Marcie all is revealed to be not what it seems, as each man harbors secrets that could unravel everything.

This is a buddy comedy, but not a traditional one. Nor is it romantic, but it does involve intimacy. This also seems the type that film festival is like Sundance love. Though at least this film truly does earn it.

The film feels more with emotional humor and situational humor, all at once, as well as the absurdities of life and almost a comedy of errors that leave things awkward throughout the madcap situations the lead characters find themselves in. While dealing in loneliness and how when in that state any connection large or small might feel deeper and bigger to one individual. While the other might find it more casual or fleeting. 

Though for all of it comedic persona or personality, it gets deeply dramatic at times as a cloud of melancholy hangs over most of the film as the film looks at loneliness and the power of bonding in friendship. 

Dylan O’Brien gives a great performance in this film playing two roles and you believe him as two totally different characters. Even though they are related as they are both different and unique. As even though he is phenomenal in this film, kind of wanted to see more of him as the twin who has the shorter amount of Screen Time, who is the more entertaining in charismatic one.

Speaking of dazzling performances Aisling Franciosi again manages to transform herself to an almost unrecognizable character than she has played before emotionally and physically. So that throughout you can’t Take your eyes off of her. While you understand why she is fallen for 

Don’t get me wrong. The film is very quirky but at times it feels all too real not necessarily identifiable because of how deep the characters dig themselves but again there’s an awkwardness to it that is undeniable and feels very cringe while you watch.

The film can be understated and it stars the Writer/Director James Sweeney. Who also definitely comes across as memorable throughout the film. I’m playing the depressive yet obsessed lead but you appreciate his performance. As he seems to be smart, but makes all the wrong decisions and isn’t afraid to admit to and indulge in his dark side.

This is a film that is hard to describe or categorize exactly. As it does take you on quite the journey, even while It seems like it’s standing still though can say that it explores friendship, like any other relationship, but not one that mature is overtime more one that is intense though just as strong

GRADE: B+

A MAN OF NO IMPORTANCE (1994)

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Directed By: Suri Krishnamma 

Written By: Barry Devlin 

Cinematography: Ashley Rowe

Editor: David Freeman

Cast: Albert Finney, Brenda Fricker, Tara Fitzgerald, Michael Gambon, Rufus Sewell, David Kelly, Patrick Malahide, Mick Lally 

Alfred Byrne is a middle-aged bus conductor in Dublin, Ireland in 1963. He would appear to live a life of quiet desperation: he’s gay, but firmly closeted, and his sister is always trying to find him “the right girl”. His passion is Oscar Wilde, his hobby is putting on amateur theatre productions in the local church hall. We follow him as he struggles with temptation, friendship, disapproval, and the conservative yet oddly lyrical world of Ireland in the early 1960s.

Honestly if not for some course language and a particular scene of sexual nature. This could have been a television movie. Thankfully it is a feature film for the big screen which explains the high quality cast.

I will admit I came for actress Tara Fitzgerald who I had a teenage crush on in the 1990’s and whitening e always wanted to watch this film. It took me so long. Because it reminded me of the film BRASSED OFF with her in it.

Watching this film after it being out 30 years truly shows how times have changed. As this might have been a bit stirring at the time, but watching it now seems almost quaint.

As we watch Albert Finney as an effeminate older man who is obsessed with theater. Plays in particular and puts together the locals I. Whichever place is obsessed with that time of year. His friends think he should find a nice girl to settle down with, others think he is eccentric and passionate only about his interests. 

Though we can tell that he is gay or has feelings for men. Even as he coddles and curates a local female who he has star in his play and it looks like it could be a cute little love story of acceptance and being about more than physical love.

Then he third act happens and everything goes toosy turbulence and what he and we thought of certain people is exposed. By the light of day and their true ide tires come out in the open. 

Honestly that is when the film seems to come alive or at least gets a lot more interesting whereas it feels like there was a ton of buildup just to get to this and it works effectively as a kind of shock but also of everyone showing their cards good and bad

What does work for this film is how deeply rooted the film and characters are in the community who offer a kind of chorus for all the moods and feelings and most of them might not get their time in the sunlight, but they certainly get to shine and help influence and entertain the audience. They are at the heart of the film that has its obvious stars, though luckily it’s quite ensemble.

It’s shocking again that they got the cast that they did Albert Finney, Michael Gambon, Brenda Fricker, David Kelly and a young Rufus Sewell and of course the enchanting Tara Fitzgerald. All for a coming out story.

Then again we all have our stories and coming out can be a defining moment in one’s life, so why not tell it with the best cast that you can get of acting superstars even at the time even if they are way above the quality of the material as Michael Gambin is more supporting and feels almost like an extended cameo throughout.

Give the film a chance but don’t expect too many fireworks. It’s like Levi’s blue jeans in fact, dependable durable something you can count on, but not necessarily a brand you go on and on about, but you’re glad exist and is there

Grade: C+

SENIOR YEAR (2022)

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Directed By: Alex Hardcastle

Written By: Brandon Scott Jones, Alex Knauer and Arthur Pielli

Story By: Alex Knauer and Arthur Pielli

Cinematography: Marco Fargnoli

Editor: Sarah Lucky 

Cast: Rebel Wilson, Augourie Rice, Mary Holland, Sam Richardson, Justin Hartley, Zoe Chao, Alicia Silverstone, Avantika, Chris Parnell, Jeremy Ray Taylor, Ana Yi Puig 

In 2002, Stephanie is the most popular girl in her high school. She’s the captain of the cheerleading squad and dating the quarterback, and she’s well on her way to becoming the prom queen. Girls want to be her, guys want to be with her. She has it all until she falls off the top of the cheerleading pyramid and goes into a coma. Fast-forward 20 years and she finally awakens from her coma as a 37-year-old woman. She returns to her high school and tries to resume her role as the star of her school–and her quest to win the prom-queen crown.

SENIOR YEAR is the kind of movie that knows exactly what it is: big, glossy, goofy comfort food. It’s not aiming for cinematic greatness, it’s aiming to be the movie you throw on at home on a lazy night and end up enjoying more than expected. And honestly? Mission accomplished.

There’s an ongoing difference these days between films that feel made for the big screen and films designed primarily for the couch. Senior Year is very much the latter. It has that polished, sitcom-style sheen bright, easy, familiar, and built around laughs more than visual ambition. You can usually predict where it’s heading, but the fun lies in watching how it gets there.

And to its credit, it gets there with plenty of charm.

The premise is ridiculous in the best possible way: a high school queen bee from 2002 wakes up from a twenty-year coma and decides the most important thing to do is… go back and win prom queen. That’s wonderfully absurd camp. The movie leans into it too Y2K nostalgia, exaggerated teen-movie tropes, cheerleader melodrama, and enough millennial references to make you laugh and wince at the same time.

What’s surprising is that underneath all the glitter and satire, the movie occasionally sneaks in some heart. The emotional lesson arrives a little differently than expected, which gives it a bit more freshness than your average streaming comedy. Even some of the more stereotypical side characters get little moments of depth, which is a nice touch.

And Rebel Wilson remains the movie’s secret weapon, even when she’s the entire movie’s not-so-secret weapon. She has that rare comedic gift of committing fully to a joke without seeming self-conscious. There’s no vanity there, no hesitation just a willingness to look silly for the laugh, which makes her instantly likable. Even when her character is being gloriously ridiculous, she’s hard not to root for.

The supporting cast helps keep things lively too, with Mary Holland and Sam Richardson doing particularly strong work in the “steal scenes whenever possible” category, as they just try to play their characters straight to hilarious effect while Alicia Silverstone’s presence adds a fun wink to the whole enterprise.

Is the film forgettable? Probably. Is it deep? Not remotely. But it’s cute, breezy, colorful, and genuinely funny in stretches. It understands the assignment: be a crowd-pleaser, hit the nostalgia button, and let everyone’s inner teenager have a good time.

Sometimes that’s enough 

Grade: C+

FIRST PERIOD (2013)

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Directed By: Charlie Vaughn 

Written By: Brandon Alexander III

Cinematography: Olivia Kuan

Editor: Corey Ziemniak 

Cast: Brandon Alexander III, Dudley Beene, Lauren Rose Lewis, Michael Turchin, Leigh Wakeford, Karli Keiser, Cassandra Petersen, Jack Plotnick, Judy Tenuta 

An uproarious cross-dressing comedy, First Period follows a new girl and an outcast as the most awkward girls in high school. Together, they set out to take over the annual talent contest and win over the whole school.

Watching this film, you can tell it’s a film done out of love. as it is low budget and the actor director and cast are few as are the locations as well as the extras, which are mostly made up of family and friends of the cast and crew.

Especially as most of the cast like most teenage shows and movies of the 1980s look way too old for their roles, which only adds to the films strengths inadvertently.

It is a campy standup of 1980s high school movies that has its main two stars cross-dressing as teenage girls. The film is filled with double entendre in innuendo. It is quite naughty, but sassy.

It is also hilarious as it works as a spoof and homage, As well as it could easily be one of those teenage 1980s films told from a teenage girls  point of view.

Lead actor Brandon Alexander III,wrote the screenplay and the film is an excellent launching pad for hikmas an actor, performer and screenwriter 

Of course, the stories of service but this is a film that you just sit back watch and enjoy, and it’s over the top brilliance and just have fun with it not a family really think too deeply about in our amazed by the two lead performances as the dialogue and jokes fly so fast and furious. It’s almost like a screwball comedy of its own only lacking the more physical comedy.

fans of the show STRANGERS WITH CANDY will definitely enjoy this film. As it has a similar tone and feel. Only none of its budget.

This is an excellent LGBTQ film that unfortunately I didn’t even knew existed until recently and it’s a shame because it’s truly an undiscovered gem cinematically. It doesn’t offer anything new but this is definitely a comfort film and a film that deserves a cult audience as through it all as ridiculous as it is, the film truly does feel heartfelt.

Hopefully someone decides to do this as a play or stage performance in this films audience can grow. At under 90 minutes,Luckily the phone never wears out. It’s welcome.

Grade: B 

HAG (2025)

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Written & Directed By: Sam Wineman 

Cinematography: Trevor A. Brown 

Editor: David Trevail 

Cast: Ryan De Villiers, Jane De Wet, Matthew Vey, Anja Taljaard, Adore Delano, Darron Meyer, Frances Sholto-Douglas, Magna Ngaiza 

After a decade apart, Rowan rents his spare room to Mag – a self-proclaimed “hag”- whose obsession with him grows into a life-or-death showdown.

Now with the title like this, it could’ve easily been a tale of a witch which in her own way, the main character is, but it’s also an out of date politically incorrect term for usually a friend, a female friend or a female, who is obsessed with gay men which this film ends up being about as a kind of updated version of SINGLE WHITE FEMALE, only with a cisgender Caucasian female obsessed with a gay white man and Moore trying to be their ultimate partner, not necessarily their identity

Which is strange as it seems like her character tends to take over identities and those are her victims but here it’s a bit different as she generally seems to want to be a part of this man’s life, but wants no one else in there. So you start to wonder what is the ultimate plan that she has at least in this instance especially as it’s modern and everyone seems to have a cell phone it would be so easy to expose her even if she chooses to keep changing her identity I know I know too much thinking going on watching this film, but that show shows you how less of a distraction this film was.

In the film definitely has its audience as it has a cis gendered straight white woman as a villain. 

Have to say that it leaves the audience  disappointed by this movie. as it’s not as Campy or much fun as expected. It’s a little out there, but it also feels like it plays it safe kind of like a risqué lifetime thriller that is desperately trying to be hip and isn’t working. There is nonteal exploitation to try and make it titilating.

As the directing lacks the flair of what could’ve been especially when you have a willing cast and a script that goes but so far but seems to stop short, quite a few times when it could keep going in an building

The film is ultimately OK as long as you don’t take it too seriously

This is also another to be original that is filmed in South Africa in Maine to look like Los Angeles. It does a possible enough job, except for when you see the actor’s real names it kind of gives it away as an overseas production.

This is the first disappointing, modern Tubi channel original thriller/horror film. can say it’s uninspired, but was looking for it to be a little more wild and exciting.

Grade: C-

CHRISTY (2025) 

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Directed By: David Michod

Written By: David Michod and Mirrah Foulkes

Story By: Katherine Fugate

Cinematography: Germain McMicking

Editor: Matt Villa

Cast: Sydney Sweeney, Ben Foster, Katy O’Brian, Merritt Weaver, Ethan Embry, Tony Cavalero, Chad Coleman, Coleman Pedigo, Jess Gabor

The life and the incredible career of Christy Martin, the most successful female boxer of the 1990s.

I will admit before I saw the film I remeber the UNTOLD series documentary on Christy Martin. So I knew the twist and turns of the story 

so watching it now, more as a docu-drama The film strangely felt like one of those premium cable movies from the 1990s usually on HBO was a star surrounded by a recognizable cast with questionable wigs.

Sydney Sweeney does the best that she can in the role and shows that she has range but it’s not quite as strong as one would hope. As here she feels like a star, trying to be a character actor instead of a character trying to be a star. She’s good enough to be possible and shows a determination that serves the film.

As most will come to this film to see if she has what it takes and does she have that star power. Which she does, but is still working on craft. As she tries to hide her looks and transform into a character. That isn’t quite successful.

Though that is the problem with the film, everything here feels just good enough to be possible, but there’s nothing special to it. There’s nothing that is quite that memorable or has a quality that sticks with you after the film so that it just comes across as very satisfactory and basic, but nothing special.

Even as director David Michod tries to go with a plain, report to his directing. More matter of fact than stylish. To go with a more natural approach.

Not to belittle the main character’s life in life, so which is very dramatic, but that is how the film should feel not so matter fact, things just happen even as it has the theme of the character, knowing her sexuality and trying to be everything to everybody else, but never quite being true to herself and once she does, she is punished for it mercilessly. So that you can see why she might’ve been afraid in the first place. 

Though you’re giving hints to her sexually your same sex preferences, it always seems more like flirting more than us ever truly seeing a romance, even when it comes to who she finally ends up with we see the blossoming as camaraderie and the development of a friendship, more than anything leading to a romance and her relationship before we’re thrust in the middle of and see the painful break up and ending of rather than the maintenance of or the beginning of

Her mother comes across as just a big villain as her husband, as she leaves more mental and emotional scars rather than physical ones.

Ben foster is noteworthy and registers as a jealous scumbag if a human being, but again surprisingly he is holding back. As the film never truly presents why Christy’s  character would fall for him or even be devoted for him as he’s pretty much a bad guy from when we first were introduced to him.

The main problem with this film is that there’s too much talent associated with this film for it to be this impassive overall. It feels like the filmmakers are frayed as there are too many true life characters still alive to really say anything definitive about any of them.

Grade: C+

THE TESTAMENT OF ANN LEE (2025)

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Directed By: Mona Fastvold

Written By: Mona Fastvold And Brady Corbet 

Cinematography: William Rexer 

Editor: Sofia Subercaseaux 

Cast: Amanda Seyfried, Lewis Pullman, Thomasin Mckenzie, Christopher Abbott, Matthew Beard, Stacy Martin, Tim Blake Nelson, Daniel Blumberg, David Cale, Viola Prettejohn

Ann Lee, the founding leader of the Shaker Movement, is proclaimed as the female Christ by her followers. This film depicts her establishment of a utopian society and the Shakers’ worship through song and dance, based on real events.

This is a hard film to quite get your head around. 

Though it definitely makes an impression. As it is an epic done on a budget, but still manages to be quite illustrious throughout even when it seems like it’s not doing that much or playing it basic at times.

Which showcases limitation, but works for the time the story is set in when the world and society was still building itself.

The film is a musical and the religious choreography, testimonial music score and movements are great. Which is what keeps a captivating and keeps your interest as it might not have been as magical if it had played as a straight drama. It might’ve felt more like a prestige film rather than something of its own concoction while trying to tell a true story.

The film gets matters of the flesh out of the way early, so that while that theme is always in the background, it’s not as heavily a focus, and once the lead character played by Amanda Seyfried goes all in with her religion and beliefs. We don’t get to see any really again, it’s more hinted at or implied, but never seen until when the film needs to be brutal.

One can see this from getting more of an audience as more people discovered it through word-of-mouth as it might not be perfect, but it certainly is interesting and never boring

Amanda Seyfried in the lead is strong and memorable. One of her strongest performance is so far as it seems like with each new passing year and each new project she does get stronger as an actress and more captivating to see with her range.

Christopher abbot plays another terrible character. Which at this point he seems to have cornered the market on. When not playing leading roles. 

The film ends brutally as that seems to be the case when it comes to most films, depicting religion or even religious ones as usually we know how they will end. It’s all in how he get there.

What keeps this from exciting is that you Never quite know where it’s going so it manages to be quite an Odyssey in of itself. Even with its limited surroundings. 

Looking forward to more films from this filmmaker.

Grade: B+ 

WHISTLE (2026)

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Directed By: Corin Hardy

Written By: Owen Egerton 

Cinematography: Bjorn Charpentier

Editor: Nick Emerson

Cast: Dafne Keen, Sophie Nelisse, Sky Yang, Jhaleil Swaby, Ali Skovbye, Percy Hynes White, Nick Frost, Mika Amonsen, Michelle Fairley 

A misfit group of unwitting high school students stumble upon a cursed object, an ancient Aztec Death Whistle. They discover that blowing the whistle and the terrifying sound it emits will summon their future deaths to hunt them down.

unfortunately, this film is pretty basic. There’s nothing revolutionary, except for some pretty good special effects and the first lead starring role for Dafne Keen. As it helps to feed off her Internet buzz and and X-MEN, LOGAN and DEADPOOL following.

The film does offer some LGBTQ representation, especially in the leading roles. Though the film feels very 1990s teen horror movie craze. Only more supernatural instead of having a slasher.

It’s strange that the film is lacking, a memorable soundtrack, even though the lead character is obsessed with music.

The film feels like it tries too hard to create or be something original, but then in doing so it makes it all the more laughable as it tries too hard. 

The drug dealing faster is stupid, but wish the film leaned more into him and his character as he seemed the only thing that was fresh in this phone and while he gets more screen time in the third act, it feels way too planned and expected, especially as third act freak out

At least with the film, the events and actions start very fast so there’s no moping around in lore and mystery. Which then leads to the problem that we barely know the characters before they start getting eliminated and because of that we generally don’t feel sorry for them as we have no personal connection or sorry to see them go as we would seeing any random person get killed. Especially as the film tends to feel cruel when it doesn’t have to be.

At least the black guy doesn’t die first, but he is the only non-believer and gets paid back by having the most violent death in the film. It’ made worse as it happens in frintnof his parents, but makes for a standout scene. 

The film comes across as a desperate FINAL DESTINATION rip off with mystical sacrifices thrown in. Even the one character played by Sky Yang, who is obsessed with a superhero. The superhero is a knock off

The film also never presents any real joy. It’s pretty bleak throughout. so much so that only two scenes in the whole film feel genuine. 

One of which is the typical teenage crush admission and the crushes answer that is the closest the film ever comes to being heartfelt. The Lesbian romance reveals are sweet also. When she is creaking out about what to text and show interest but not too much interest 

The film at certain points gets silly and so bad that it becomes entertaining to a point, which is what keeps the audience watching other than the gory deaths not so much inventive. But miraculous special effects.

There’s also barely rarely any adults shown in major roles, other than an initial kill, and the one to inform them about the whistle and the curse.

If I have paid to see this, I would not be so nice when it comes to this film. I’d actually would’ve been best but watching it for free it’s OK. It’s a popcorn movie a time waster but one I don’t ever really need to watch ever again.

if anything come for the films gory special effects you might find some other things you might like about it, but I’m betting not too much. Though I really wanted to like it. It just didn’t have enough to truly admire.

Grade: C 

I DON’T UNDERSTAND YOU (2025)

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Written & Directed By: David Joseph Craig & Brian Crano

Cinematography: Lowell A. Meyer 

Editor: Nancy Richardson 

Cast: Nick Kroll, Andrew Rannells, Amanda Seyfried, Morgan Spector, Eleonora Romandia, Nunzia Schiano, Vincenzo Gallo, Arcangelo Iannace 

An American couple, on the verge of adopting a baby, goes on an Italian vacation – an opportunity to reconnect before the new addition arrives. Everything is picture-perfect; the epitome of a European baby moon, when things begin to spiral out of control. On the way to a fabulous dinner, they get their rental car stuck in a ditch and are stranded in rural nowhere in a downpour. These two Americans, who are used to being catered to, are now in a foreign land without service, an Italian language comprehension of about zero, and clear relationship turmoil that could explode at any minute. Fear obviously takes over.

This is a film that at first seems like it will be your typical couple comedy. Which it stays throughout until it takes a dark turn and seems to stay on that road until the end.

Where usually I enjoy films like these. There is something a bit off. As it stays true to it’s title. As most of the trouble comes from miscommunication. That seems to escalate Into violence seemingly accidently.

It’ not the characters exactly as they seem to be normal and just reacting to their situations that seem to get out of hand. it’s the films attitude that tries to humanize the victims, but also makes them caricatures and easily either forgettable or challenges. There isn’t much to truly dwell on or feel sorry for.

While the characters aren’t hateful or malicious. They might be a bit extreme in some situations, but by the ending they cone off too easy. That leaves a bad taste in the audiences mouth. That just feels like a reminder of rich caucasian males getting away literally with murders. Not that they should be especially punished but it feels like there should be something they lose or some way in which they have to pay or lose something. As there is some evidence that they left behind that could come back to haunt them.

Though the film seems to want us to root for them Abd let them drive off and be happy. As the film gives them something that humanized them and makes us identify with them in the form of having them await the birth of a baby they are adopting. After bei g brined before they are hoping this time. They will finally get a chance to be parents. That is the only sympathetic part of the story. We truly have for them.

The movie constantoy up’a the stakes but nothing lingers. So that it feels like it’s making a cake and it comes out as a tart. As the film reminds the audience of so many sitcoms only with better production values. As at least Nick Kroll and Andrew Rennells work well off of one another that makes their pairing feel effortless and like they are inorigng in the situation that makes them and their relationship come across as natural and real. If only the rest if the film came off that way. 

In the end, It just never feels like it has any real stakes. It breezes through like a wind storm (not a hurricane as the material isn’t that strong or wacky) and throws plenty against the wall to see what sticks.

Grade: C