Tag: Adaptation

MEG 2: THE TRENCH (2023)

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Directed By: Ben Wheatley 

Written By: Dean Georgaris, Joe Hoeber & Erich Hoeber

Based On The Novel “THE TRENCH” By: Steve Alten 

Cinematography: Harris Zambarloukos 

Editor: Jonathan Amos 

Cast: Jason Statham, Cliff Curtis, Page Kennedy, Sienna Guillory, Jing Wu, Sophia Cai, Skyler Samuels, Sergio Peris Menchata, Melissanthi Mahut, Whoopie Van Raam

When a shady corporation’s illegal mining operation disturbs the ocean’s mysterious seabed, veteran deep-sea rescue diver Jonas Taylor and a research team unearth terror beyond imagination. Five years after the horrific first encounter with the unstoppable Megalodon in The Meg, Jonas must now face a ferocious old enemy for the second time. But the sea’s perplexing depths harbor prehistoric, blood-chilling secrets aching to resurface. Can Jonas confront what emerges from the trench?

The title sounds like a crossover with AQUA-MAN that some might have hoped for or the French spin-off movie only connected to the Meg universe. No such luck 

This movie is truly a sequel with not only a bigger shark but three of them. While there is some humor in the film it’s not as strong or as fun as the first film.

It might be that in the first film, there were more recognizable actors in the first film. Where as here half the actors are new. The survivors from the first film are back for this film.

One of the problems might be that a sequel wasn’t really needed. Even with this film half of the script seems made up and offers nothing new except for the same old basic plot points of betrayal and underground criminals.

Another problem is that other than a hand-to-hand action sequence on a ship for Jason Statham to show off his fighting skills. There is no other action for the first hour practically. the second half makes up for it but mostly being action, but by then you have already lost certain members if the audience. Seemingly so you can set up plot points and try to make up science for what is happening. 

Then even though faxing the sharks is bad enough yet too much like the first film. You set up a mercenary force for them to fight and outwit. Which again allows Jason Statham some more hand-to-hand action.

Then you have the sharks and big lizards start attacking innocent citizens at a resort. So that it becomes a rescue disaster movie. As well as a JURASSIC PARK knockoff and allows the film to up the limited body count it has provided so far.  

Another problem is that the special effects are so obvious. That it is hard to get scared of something you know is pretty much animated.‘you take the fear out despite the bloody violence. It still feels more like a family film, more than anything.

The saving grace of the Movie actually is actor Page Kennedy. He seems to understand the ridiculous mood of the film and manages to make his l character stand out among the

Many a few of them also understand the nature of the film but do not manage to come away as memorable only serviceable.

The first hour might be the way it Is because of director Ben Wheatley who usually directs his own independent projects making his first studio film. As a challenge or for whatever reason. He wants to get the dramatics and set up first and let it build to the action massacre. It could also be a more for-hire job and not an original project that he started. The passion might be missing 

It might be that the film is based on a novel. So the need to explain the science and technical aspects must come first. Before we can truly enjoy the senseless action that feels repetitive and never as exciting as the filmmakers are trying for. Which also amounts to a lot of exposition. 

The film was also made to appeal to a more global market. As it has quite an international cast. Which unfortunately makes it seem more like a byproduct than even an actual product. 

Grade: D+

JACKNIFE (1989)

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Directed By: David Hugh Jones
Written By: Stephen Metcalfe (Based on his play STRANGE SNOW)
Cinematography: Brian West 
Editor: John Bloom

Cast: Robert DeNiro, Ed Harris, Kathy Baker, Charles S. Dutton, Josh Pais, Gabrielle Carteris, Elizabeth Franz, Louden Wainwright III, Jessalyn Gilsig

Two Vietnam vets search for the strength to face up to their horrific war experiences, but their friendship begins to splinter when one becomes romantically involved with the other’s sister.

I always remember the trailer and poster for this film above all. Seeing it play in theaters. It struck me how wild Robert DeNiro looked in his long hair and baseball cap. (Which was the poster image) Then all of a sudden dressed in a white tuxedo. It always mystified me how well he cleaned up. 

I only recently got around to finally watching the film. If I had seen it at the time it would be my first time seeing Ed Harris in a movie. He truly didn’t become known at least in my film atmosphere until the movie JUST CAUSE. The only other major role I might have seen him in would have been THE RIGHT STUFF a movie at the time I had certainly heard about, but had no interest as it didn’t register it my stratosphere.

The film seems like it wants to go to some deeper places but feels too slick and determined to make it a romantic love story of sorts. 

The film builds as much as we get to know the characters. Who are all damaged in their own way. 

If not for the cast wouldn’t be held in such high regard as they make it work more than it should 

Robert DeNiro comes across at first due to his looks as the more deranged or troubled character. Whereas Kathy Baker and Ed Harris look more normal and suburban. Though each character has their own problems. Ed Harris proves to be the most damaged amongst them and DeNiro the most well-adjusted though through therapy. 

The prom hallway scene is the pinnacle of the movie where all is let loose. 

Directed By David Hugh Jones, whose style comes across here with the depths of a television movie made into a theatrical feature film. It’s Simple and Thought lacks a finesse that makes everything come across as basic visually. He brings little to the table other than competence. However, it does make sense that this began as a play before becoming a feature.

It revolves around the 3 characters and is always more indoors. The film attempts to make it more open by adding more scenery and having scenes be more outdoors and in various locations. 

At a certain point it feels like DeNiro’s character steals the booty, so to speak. He romances his friend’s sister and ends up getting intimate with her. Then after a few friendly dates and finally getting through to her brother. Tries the old “this can’t work” and is ready to leave town. She has gotten all that he wanted. So he kind of works as an early version of the saintly character. Who is there to help and advise the hero while spouting wisdom. This is usually reserved for African Americans characters in movies in a more mystical way, but leaving them with very little to actually do or be as a character. Luckily here the film comes through for a happy ending. Which also allows DeNiro’s character to feel real and be more full-blooded.

Grade: B- 

A HAUNTING IN VENICE (2023)

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Directed By: Kenneth Branagh 

Written By: Michael Green 

Based on the Novel “Hallowe’en Story: By Agatha Christie 

Cinematography: Haris Zambarloukos 

Editor: Lucy Donaldson 

Cast: Kenneth Branagh, Tina Fey, Michelle Yeoh, Kelly Reilly, Jamie Dornan, Camille Cottin, Ali Khan, Jude Hill, Emma Laird, Kyle Allen, Riccardo Scarmarcio

In post-World War II Venice, Poirot, now retired and living in his own exile, reluctantly attends a seance. But when one of the guests is murdered, it is up to the former detective to once again uncover the killer.

Kenneth Branagh finally has gotten the formula right. Maybe it was getting all the studio movie cliches out of his system to go back to more artistic filmmaking choices. This film finally shows the proper depth of the story & character.

There are Not so Many celebrities or stars in the film so the suspicions aren’t so high not your attention centered on them. 

This was the attraction for MURDER ON THE ORIENT EXPRESS  and the next film partially DEATH ON THE NILE which was a little more dialed down but still enough for a little spectacle. 

While primarily those films were aided by CGI when it came to locations especially. This film has less basis on CGI and truly explores the exoticness of the classical space and uses the cavernous location to its strength. As everything looks lush & plush.

While the film has its central mysteries every character seems to be hiding their own secrets. While it still Magyars to have the melodrama throughout. This film feels a bit more dry and dramatic. It has a darker outlook. It even Manages some surprises 

In the middle, it might be a little confusing. Once the third act comes into play surprisingly and with no lead-up the mystery is solved. There is more to go after that. 

What works is that it can be seen as a stand-alone but works in the trilogy. As if you have seen the previous films. You can understand the mindset of the main character at the beginning. As you have seen he has come to it. After suffering losses in the previous films. 

At first, it seems like the film is trying to rely on or try to jump onto the horror trend, but it ends up working for the story and distinguishing itself. Not seem like a Cash and is actually being adapted from an existing Agatha Christie story 

Even as we realize how lonely the main character is as he has fans and admirers but never truly anyone close to him they all want something from him and the friends and acquaintances from the past have either moved on or that is the basis of their relationship work-related. Knowing and seeing the evils of the world has made him scared to engage or trust in the end. He realizes he can’t let the nature of the world scare him Off and that he needs to try to help as much as he can to try to make it brighter 

He believes by separating himself from the world he’s not contributing to evil, and he’ll just keep to himself, and be safe by the end I think he realizes that the world at large needs him and he wants to be there to try and make it a better place combat that evil he’s found his faith so to speak. Kenneth Branagh plays it brilliantly reminding you of not the fine actor he can be and seeming to bypass the more comedic detours and also tightening up his directing skills. To come across as more artistic and personal and less sensationalistic. Still managed to have style in fact even more of it 

This film offers a bit more depth for the character and is a lot drier than the previous films it feels more intimate. Thought offers fewer distractions. 

This one seems less a seat filler or weekend attraction and more a film made with ideas and interest than a paint-by-numbers affair 

Grade: B

THE POPE’S EXORCIST (2023)

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Directed By: Julius Avery 
Written By: Michael Petroni and Evan Spiliotopoulos 
Story By: Jeff Katz, R. Dean McCreary and Chester Hastings 
Based on the books “AN EXORCIST TELLS HIS STORY” And “AN EXORCIST: MORE STORIES” By: Father Gabriele Amorth 
Cinematography: Khalid Mohtaseb
Editor: Matt Evans

Cast: Russell Crowe, Daniel Zovatto, Franco Nero, Alex Essoe, Pete DeSouza-Feighoney, Laurel Marsden, Cornell John, Bianca Bardowle, Ryan O’Grady 

Inspired by the actual files of Father Gabriele Amorth, Chief Exorcist of the Vatican, The Pope’s Exorcist follows Amorth as he investigates a young boy’s terrifying possession and ends up uncovering a centuries-old conspiracy the Vatican has desperately tried to keep hidden.

What helps keep the film entertaining at the very least is Russell Crowe is certainly having fun throughout with his over-the-top performance. It’s like imagine if Anthony Hopkins’s version of Van Helsing in BRAM STOKER’S DRACULA had gotten his own modern-day spin-off movie 

The film saves the best for last as it includes action, violence, nudity in other words all the naughty stuff. Even though the film has plenty of racy scenes means more to shock and show the possession. 

The last act of this film is so off the wall and overrated yet fun. That you wish the whole movie had been like that. 

As it stands out because before that the movie had been so basic and unoriginal. Something you have seen before. though it might make an interesting first horror film for those being introduced to the horror genre. 

It’s not that good but what you hope for, leaving room for a franchise.

Considering the director Julien Avery who has directed the crazy and entertaining OVERLORD 

who seems to be when he lets loose. After trying so hard to keep it simple and build up the tension. So with this film, he feels like he is holding back on purpose until the end.

The film is a strange mix as it seems to want to contain itself and seem realistic by trying to stick to the facts. Though there are plenty of places throughout especially the end. When it feels purely Hollywood-pumped-up storytelling. 

The film feels like a weekend box office movie placeholder more designed to bring in a quick buck and have a top spot for the opening weekend and be a go-to in the following weeks for people. who needs to buy a ticket or see something else other than the # 1 sold-out movie. So this is kind of like a B-movie. As it is more content than memorable cinema

Grade: C-

THE YOUNG SAVAGES (1961)

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Directed By: John Frankenheimer 
Written By: J.P. Miller and Edward Anhalt 
Based on the Novel “A MATTER OF CONVICTION” By: Evan Hunter
Cinematography: Lionel Lindon
Editor: Eda Warren

Cast: Burt Lancaster, Shelly Winters, Telly Savalas, Dina Merrill, Edward Andrews, Vivian Nathan, Larry Gates, Pilar Seurat, Jody Fair, Stanley Kristien

A district attorney investigates the racially charged case of three teenagers accused of the murder of a blind Puerto Rican boy. He begins to discover that the facts in the case aren’t exactly as they seem to be.

This takes you back to an era where movies could still be police procedural episodes basically. Only with more star power and elongated with a more personal connection. To the central character. Here is Burt Lancaster. Not to mention directed by the legendary John Frankenheimer in his prime. 

At least the film is based on a novel, an adaptation. So it’s not some run-of-the-mill story. That failed at being an episode of a court show that week. 

Once upon a time they could build a whole film’s narrative around a crime story that seems pretty simple but gets complicated as it goes along. As the deeper Lancaster dives the more that is revealed that has quite a few twists and turns.

Showcasing the supposed dog-eat-dog nature of the slums and the racial unrest. Here between Italians, Irish, and Hispanics. While also managing to be a youth In Jeopardy movie.

The case in the film showcases the political implications that the case causes.

The film is an uneasy watch as it tries to be liberal in its politics. It still feels a bit racist and definitely stereotypical. At times it tries to throw back at both sides and show that no one is perfect and we all have our flaws. Does someone deserve to lose their life over it? 

It also tries to save one of the Caucasian characters as an innocent. A good kid in bad surroundings. Most of the characters could be, they all just learned to adapt to survive.  While the innocent victim gets trashed in court almost like he deserved it. It also doesn’t exactly answer all the questions the case presents.

Every character here is corrupt or criminal. It’s disturbing that the ones of color are the ones shown more thoroughly in that manner. Though get more screen time. 

The subject matter is tawdry but handled in a clean way. As the film goes with what was expected at the time. So an audience can blame the times for the way this movie comes across. As a kind of historical artifact.

There was also the way the film felt. As one is watching it seems like the camera or film was speeding up. To make things happen or appear to happen faster.

Grade: C+

NIGHT AND THE CITY (1950)

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Directed By Jules Dassin
Written By: Joe Eisinger 
Based on the Novel By: Gerald Kersh
Cinematography: Max Greene
Editor: Nick Deamaggio & Sidney Stone 

Cast: Richard Widmark, Gene Tierney, Google Withers, Herbert Lom, Mike Mazurki, Charles Farrell, Hugh Marlowe, Francis L. Sullivan, Stanislaus Zbysko, Ada Reeve 

A small-time grifter and nightclub tout takes advantage of some fortuitous circumstances and tries to become a big-time player as a wrestling promoter.

The film ends up more of an ensemble than expected. As the main character at the center of it all. Though the secondary characters are added in and ends up feeling like so many gears going all at once at the same time.  

So that it keeps the audience mesmerized and engaged. Watching how the narrative tightens and converges and affects one another like a chess match. They are feeding into one another as the stakes are raised and the challenges get more prominent. 

The film is full of love stories and triangles with jealousy and revenge. None were quite sturdy except for one.

This is a thriller centered around a wrestling promotion. Showcasing the business and dramatics involved even back then. As we watch it all come apart. While men are all trying to be the alpha full of bravado and machismo.

Richard Widmark’s performance is filled with manic energy and intensity. Where his character goes through so much intensity. Though always with a Whiff of anger the untrustworthy glamorous bad boy who dresses up as a gangster though is truly a two-bit hood and hustler. Very wiry and athletic he overshadows everyone else in scenes with him. As you can tell he is always thinking and scheming. He has to line up the dominos of making a deal keeping all the parts moving just like in this film.

Keeping the production a well-oiled machine. Luckily Leaving it not all that predictable. While showcasing dynamic examples of shadows and light. Showcasing this tale as a film noir. 

The film has an excitement in the filmmaking. That is assured yet takes its time. Leaving one surprised that the tale takes place in England. Seeing these descriptive old-time faces and tough guys that seem more New York City old school. Then they start talking and you realize where you are once you hear the accents. 

Director Jules Dassin was in the middle of being blacklisted and the studio’s head Daryl Zanuck told him this might be the last film he ever made. This might be why this film is so strong as he seemed to put all his energy and vision into it. 

Like so many classic films It’s partially in the grain. As there is a richness in there that is rare yet all-encompassing. Making it seem timeless yet feels nutritious. As we watch it grow. 

The audience marvels at it. As it’s an example of the best that seems shared with us. A recipe that works better than expected or just right. Where the dialogue feels like lines of scripture. As these are stories to illuminate. 

The film does offer a comeuppance. Even in all these dark stories and corners. Judgment and themes said simply that feed the shadows.

Grade: B+

WEEKEND (1967)

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Written & Directed by: Jean-Luc Godard Based on the short story “LA  AUTOPISTA DEL SUR” By: Julio Cortazar  Cinematography: Raoul Coutard  Editor: Agnes Guillemot

Cast: Mireille Barc, Jean Yanne, Jean-Pierre Kalfon

A supposedly-idyllic weekend trip to the countryside turns into an endless nightmare of traffic jams, revolution, cannibalism, and murder as French bourgeois society starts to collapse under the weight of its own consumer preoccupations.

Throughout this film, we follow a truly unlikeable couple on an endless journey/trip. Who terrorize or are terrorized by all they come across. It gets a bit meta as they know they are in a film. They continually wander into different narratives, scenes, or stories.

They keep coming across more dead people throughout the road and it feels a bit post-apocalyptic at certain points.

The film is episodic that stays with the couple and their various interactions with others. It gets continually ridiculous. As it feels like a stylistic comedy with deeper ramifications with plenty of unexpected philosophy and what feels like satire.

Thought this would be one of his more divisive movies. Where it’s an experimental concoction, but this ends up becoming an almost film. As it was one of Jean-Luc Godard’s films I might actually like and dare I say almost enjoyed it completely.

Though his films fascinate me and keep me coming back to discover. As he or the films usually have something to say or present.

Either that or more commonly he and his films fit the case of the tale of the emperor’s new clothes. Where there is nothing really there, yet people pretend there is, which can be said of a lot of celebrated directors by many people. 

One can admit to being more of a fan of Francois Truffaut’s films. His fellow film enthusiast, reviewer, and co-worker at the legendary film magazine Cahiers De Cinema. 

Godard is a director I can truly call an auteur. As no matter what there is a discussion to be had at the end of his films and no one can call them simple. There is no other director like him though many have tried. one can see how he has inspired so many. 

This film actually feels playful and fun despite the absurdity. As it is most and tends to turn in a dime at times. The first hour has so much craziness but keeps you engaged that when the second half comes along with that same craziness but it starts to feel like a philosophical lecture. Even if he leaves it to the audience to figure out or read into it. 

As always this happens just when I was ready to accept and enjoy. He then pulls the rug under you.

Like the recent film TENET at times the soundtrack is louder than the dialogue. Thankfully there are subtitles throughout. Though if they were left out it would rise to the challenge the director seems to desire. 

The opening scene is certainly erotic with just the power of words and suggestions.

The film Of course has the legendary amazing tracking shot of the endless traffic jam and what various cars and people are all doing during. While the main couple’s car tries to get along the way. Where there is violence and games It ends brilliantly. 

Grade: B

BLACKBERRY (2023)

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Directed By: Matt Johnson 

Written By: Matt Johnson And Matthew Miller 

Based on the Book: LOSING THE SIGNAL By: Jacquie McNish & Sean Silcoff

Cinematography: Jared Raab

Editor: Curt Lobb

Cast: Jay Baruchel, Glenn Hoverton, Matt Johnson, Martin Donovan, Saul Rubenik, Cary Elwes, Rich Sommer, Michael Ironside, SungWon Cho 

A company that toppled global giants before succumbing to the ruthlessly competitive forces of Silicon Valley. This is not a conventional tale of modern business failure by fraud and greed. The rise and fall of BlackBerry reveal the dangerous speed at which innovators race along the information superhighway.

This film isn’t as experimental as writer, Director costar Matt Johnson’s previous films. Though this one is more established it is still brimming with creative energy. 

Maybe, as this is based more on a true story rather than him making it up, so this demands to have a stronger narrative. Though he still finds a way to make it a little unconventional, more personal, and smaller scale taking place mostly in Canada.

No, he does get to keep a certain experimental style and more handheld camera work that gives Scenes More Intimacy and feels like a fly on the wall. It is an amazing true story. That goes into the whole corruption of the souls and values. To make the best product around. 

Though what most will be talking about when it comes to this film is actor Glenn Howerton’s performance mainly known for his performance in the Shell. It’s always Sunny in Philadelphia. Where he plays more of a narcissistic buffoon. Here he is a cold-blooded executive, who eventually becomes co-CEO of Blackberry and constantly seems angry and ruthless.

No, it is understandable, as he seems to be building this company as revenge for his recent termination, and believes in it so much that he is willing to risk his own future his mortgage to keep building this company so that even as Co-CEO he feels he is old, which is why he’s willing to even have to go through a legal means to keep this company growing.

What works is that he and Jay Baruchel’s characters are the Yin and Yang of each other who work side-by-side and off of each other, which helps the company work, but he has more influence over Baruchel character. 

As Baruchel’s character seems to slowly lose his morals and sense of character. Luckily, Baruchel holds his own in a more quiet, subdued way.

Matt Johnson plays more of a supporting character in the background that represents his past and moral center, which is why, when his character kind of accents the film, everything takes it down.

Grade: B+ 

THE KILLER ELITE (1975)

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Directed By: Sam Peckinpah 
Written By: Marc Norman and Stirling Silliphant 
Based On The Novel “Monkey In The Middle”: Robert Rostand 
Cinematography: Philip Lathrop 
Editor: Monte Hellman and Tony De Zarraga 

Cast: James Caan, Robert Duvall, Bo Hopkins, Mako, Burt Young, Gig Young, Arthur Hill, Tom Clancy, Tiana, Kate Heflin, Sondra Blake 

Mike Locken is one of the principal members of a group of freelance spies. A significant portion of their work is for the C.I.A. While he’s on a case for them, one of his friends turns on him and shoots him in the elbow and knee. His assignment, to protect someone, goes down in flames. He is nearly crippled, but with braces is able to become mobile again. For revenge as much as anything else, Mike goes after his ex-friend.

The film plays like experimental jazz. So many elements coming together seemingly Off beat, yet you stay to see where it is going. Considering the talents involved 

James Caan is the lead, laid back and riffing through it all, but showing his skills and talent. Even though his character is supposedly handicapped.

Where it always seems Like he is more a lady’s man constantly flirting or always having a one-liner rather than being a fighter. Though I won’t Front would totally rock the outfit of his turtleneck.

Robert Duvall seems more like he dropped into the production as a favor or a debt owned (think Edward Norton in THE ITALIAN JOB)

The film shows Life at the C.I.A., might not be as exciting day to day, but lacks plenty of action in the field. 

The main characters aren’t suit and tie or all business, nor typical heroes. In fact, it looks like they are all wearing their own clothes from home. As half the film takes place over 2 days. 

They are ordinary guys the type you see around your neighborhood  Back in the day 9 – 5 guys. Who meet up for drinks at a local bar after work to talk and drink their troubles away.

Not too much exciting action. A lot of slow motion doesn’t help. The film Has a messy 3 act structure that seems to have Its own mini-arcs in act one through so many soliloquies. Which leads to pacing problems. 

You are left wanting even when it seems to take side steps to be more quirky. As you are looking for something with more attitude. Though it plays more like a kind of Western with those types of characters.

At times the film is impressive, even more knowing what went on behind the scenes and the messiness of the production. Which includes diced to cast the screenwriter’s girlfriend, and drugs being used on the set. 

As it goes off on its own solos of little twists and turns that add to the overall element of a project. 



In the end, this is a film that seems like it will only be liked by fans of those involved as a completist type of movie. 

This Ends up as sub-par Peckinpah 

Grade: C

SPOILER ALERT (2022)

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Directed By: Michael Showalter 
Written By: Dan Savage and David Marshall Grant
Based On The Book: SPOILER ALERT: THE HERO DIES. By Michael Ausiello 
Cinematography: Brian Burgoyne
Editor: Peter Teschner 

Cast: Jim Parsons, Ben Aldridge, Sally Field, Bill Irwin, Nikki M. James, Jeffrey Self, Sadie Scott, Josh Pais, David Marshall Grant, Jason Gotay, Antoni Porowski 

The story of Michael Ausiello and Kit Cowan’s relationship takes a tragic turn when Cowan is diagnosed with terminal cancer.

Based on a true story, Though it’s still has a kind of tragedy that the title alerts you to, and even the title of the memoir it’s based upon. Which usually is a cliché in LGBTQ stories. Here it is used as an emotional resonance as for the film, it provides an ending, but also a catharsis as this is truly a love story with a beginning, a middle, and an end so that each stage is clearly representing an emotional and it’s on Waze

As it is a love story, it shows the beautiful beginnings. Where are you think it’s going to be the happily ever after, it also does present and show the problems. The small details are usually a part of a real-life love story, but in the movie usually cruise over or never show. 

The happily ever after is only at the end of act one there’s so much more road to travel, and at times it feels unflinching. Nothing is completely solved, but we see how to deal.

It also presents the love story as something universal that everyone can understand and gives humanity to the main characters who are gay and is more of a mainstream love story 

I will admit what attracted me to the story and personalize it is that it’s about an entertainment journalist who I have read over the years and can easily identify with his passion for pop culture, which I think will strike many in the audience

It’s just a beautiful love story after all, and the fact that it’s based on a true story, only helps it as many times it will leave the audience emotional with happiness, joy, and sadness like

No, it does have its points that are more inventive and imaginative. It always stays reliably true even when it reaches its quirky moments. 

The film it’s a lot deeper than expected and you can appreciate its nuances. Though the title says it alone, it still offers. Plenty of warm, surprises and emotions. Where are you? Truly fall in love with the characters as they fall in. Love with each other.

In the end, it’s just been an affecting beautiful story slice of life, if anything love story that most of us dream ever hope for. It’s so heartwarming it feels like a Christmas movie which is what one of the characters is obsessed with.

Director Michael Showalter makes another heartfelt emotional character, driven comedy, wherein its heart is a nerd in love.

Grade: B