The Invite (2026)

I was hoping to see Young Washington this evening, but it's already gone from the nearest theaters. Among the available showings I hadn't seen, TI looked most popular. Maybe just as well, for promising something extra different from my expensive, humorless previous viewing. Not that I could tell much from one- or two-sentence summaries; it sounded vaguely like it could be Bad Shabbos minus Judaism.

Angela (Olivia Wilde, who also directs) invites upstairs couple Hawk (Edward Norton) and Piña (Penélope Cruz) to visit her San Francisco apartment, without the timely awareness or approval of her husband, Joe (Seth Rogen). She wants to make up for them having to tolerate renovation noises by showing them the results, and maybe she and Joe will finally have friends again. Joe would rather give them a piece of his mind about their noises, from sex at ungodly hours. It turns out that Hawk and Piña host orgies and would be interested in Angela and Joe joining....

Poor Things (2023)

I've wanted to see this since I caught a few clips at the Academy Awards. My desire decreased when I learned that Yorgos Lanthimos directed. Nonetheless, almost as soon as it came to Netflix, I obliged.

In 19th-century London, heavily pregnant Victoria Blessington (Emma Stone) commits suicide. Victor Frankenstein-like Dr. Godwin Baxter (Willem Dafoe) could simply revive her, but seeing little sense in bringing back a suicidal mind, he transplants her baby's brain into her head first. When he asks med student Max McCandles (Ramy Youssef) to help document the behavior of this "Bella Baxter," she can barely talk or balance, but she's learning fast. Eventually, Godwin talks Max into proposing to Bella. She accepts, but since Godwin would still require her to stay on his property all the time, she first runs off on an adventure with Europe-traveling lothario Duncan Wedderburn (Mark Ruffalo). Neither she nor Duncan knows what they're getting into.

The Secret Agent (2025)

No, nothing to do with the Joseph Conrad novel by the same title, just similarly big on corruption and tragedy. It wasn't high among my priorities for watching before the Academy Awards, but it was the only Best Picture nominee showing at a convenient time and place last night.

Most of the scenes take place on or near Carnaval 1977 in the vicinity of Recife, Brazil. Yup, it's under that government. Armando, once a researcher, has adopted the alias of Marcelo because of his dissidence, and his allies help him get clerical work in an ID office. He tries to live as normally as possible, reconnecting with his young son, who has been living with the parents of Armando's dead wife. He also reluctantly accepts protection from a corrupt civil police chief, for what that's worth when a personal enemy hires a hit man.

The Children's Hour (1961)

This adaptation of a Lillian Hellman play got mixed reviews and did not cover expenses at the box office, but when YouTube suggested it to me, I noticed the high ratings on modern boards. Besides, I was in the mood for an Audrey Hepburn piece, and this one sounded quite different from the same year's Breakfast at Tiffany's.

Karen (Hepburn) and Martha (Shirley MacLaine) run a girls' boarding school. For the first half hour, their struggles include some unruly students; Martha's annoyance at her conceited Aunt Lily (Miriam Hopkins) on staff; Karen dragging her heels about marrying the school's go-to physician, Joe (James Garner); and Martha worrying what will happen to the school when they do marry. But all those troubles get overshadowed when every student suddenly gets pulled out of the school. What rumor could be so ugly that the headmistresses take forever just to hear an explanation?

Pitch Perfect (2012)

Boy, it's been more than a decade since I saw the first sequel. I don't remember when I put the predecessor on my Netflix list; I may have ignored it many times. But I was finally in the mood for a flick with a lot of decent singing, regardless of any other virtues.

After a disastrous performance at the International Championship of Collegiate A Cappella, the all-female Barden Bellas are down to Aubrey (Anna Camp) and Chloe (Brittany Snow). They can't be too picky, so the new recruits are a motley crew. Some get kicked out for intimacy with the Bellas' fiercest on-campus rivals, the all-male Treblemakers. The main internal conflict concerns Beca (Anna Kendrick), who has a habit of pushing people away but does great at mashups, which hidebound, bossy Aubrey rejects.

Election (1999)

Once I saw this title on the menu, I decided it should be my first viewing after Election Day. The advertising didn't appeal to me, especially the poster showing a tiny man's head in a girl's mouth, but the movie itself has some enduring clout, including reportedly being Barack Obama's favorite political pic.

High school civic teacher Jim (Matthew Broderick) has complicated feelings about busy, ambitious A student Tracy (Reese Witherspoon): He resents her for having had an inappropriate relationship with his now fired and divorced co-worker, Dave (Mark Harelik), but also fears that he will make the same mistake, especially if she becomes the student government president and thus spends more time around him. He persuades injured football star Paul (Chris Klein) to run against her. Paul's sister Tammy (Jessica Campbell), bitter at him for dating her female love interest, Lisa (Frankie Ingrassia), then enters the race to thwart him. Amid this havoc, Jim turns out to be in much more danger of straying toward Dave's ex-wife, Linda (Delaney Driscoll), who is also a friend of Jim's wife, Diane (Molly Hagan).

To All the Boys I've Loved Before (2018)

For some reason, it seems I've watched more comedy-dramas centered on girls or young women from 2018 or thereabout than from other periods. Here's one more. Only later did I learn that it launched a series.

The movie doesn't make the setting clear, but the Jenny Han novel specifies modern Virginia. Lara Jean Song-Covey (Lana Condor), 16, sometimes called LJ, has been largely keeping to herself. She used to write letters to multiple crushes and put them in addressed envelopes without sending them. To her mortification, the letters "somehow" get out, as she discovers when Peter (Noah Centineo) tells her he's not ready to date her. By this time, she's not that interested in him either. They nevertheless work out an agreement to fake a relationship, because he wants to make his ex, Gen (Emilija Baranac), jealous and LJ has almost the opposite goal: to dissuade Josh (Israel Broussard), recently dumped by her older sister, Margot (Janel Parrish), from pursuing LJ in the wake of the letter he received. Perhaps neither Peter nor LJ knows the phrase "Fake it till you make it."

LJ has had five crushes, but only two really matter for this story. Lucas (Trezzo Mahoro) turns out to be gay, so he serves only as a confidant for LJ. The other two don't go to the same school, and one doesn't even show up in the sequels. To me, this overcomplication was the main sign of a basis in a book.

I considered adding a "racial" tag, because a few moments call attention to the Korean half of LJ's heritage, but it doesn't affect the plot or even the humor much. Nobody alludes to Asian stereotypes, even when LJ drives poorly. Nor does anyone raise an eyebrow at the prospect of interracial romance. Only a conversation about the political incorrectness of Sixteen Candles stands out.

Cracked.com pointed out how many romantic comedies center on "monsters." I wouldn't go that far this time. In addition to the whole charade, LJ does wrong in effectively ghosting Margot and Josh, and she gets overly furious at her kid sister, Kitty (Anna Cathcart). I have some idea of why Josh sees Peter as a jerk jock. But neither member of the not-so-fake couple appalls me. Gen strikes me as meaner, and even she's not a caricature.

Things are so formulaic that I rarely came anywhere close to surprise. This might also explain why I rarely came anywhere close to chuckling. Fortunately, it works as a fairly credible love story. At any given time, it's hard to gauge how much LJ and Peter like each other unless they're being earnestly passionate. I did end up rooting for them to make it work.

TAtBILB earns its slightly above-average IMDb rating. None of it's likely to be new to you, but the 99 minutes won't drag.

Slap Shot (1977)

I have never watched an entire hockey game in my life, nor had I watched a movie that concerns hockey principally. I don't recall who recommended this one. But I trusted that it would be easy to follow with even a rudimentary knowledge of the sport. Indeed, the first scene clarifies a few terms that hockey fans probably know well.

Under near-retirement Coach Reggie Dunlop (Paul Newman), the fictitious Charlestown Chiefs are the least successful NHL team. Then the manager (Strother Martin) recruits three young brothers (David Hanson, Steve Carlson, and Jeff Carlson) who look like wimpy dorks but play with a super-bellicose style that garners wins despite frequent penalties. Reggie decides to have the team in general adopt a policy of aggression, which makes them popular with their hometown and pretty much no one else. Only the star player (Michael Ontkean) declines. Can the Chiefs save themselves from dissolution?

Tár (2022)

I was surprised to discover that this is not based on a true story or, indeed, any preexisting thing. It also is a primarily American production and attaches no importance to the protagonist's nationality. So why pick such an uninformative title that could easily confuse English speakers, especially if presented in a format that doesn't support an accent? That factor may have contributed to me waiting this long to check out the Best Picture nominee.

The story begins with Lydia Tár (Cate Blanchett) at the peak of success as chief conductor of the Berlin Philharmonic, citing Leonard Bernstein as inspiration. Alas, as a major concert approaches, one thing after another goes badly. Tensions rise between her and her wife (Nina Hoss), her secretary (Noémie Merlant), her assistant conductor (Allan Corduner), and pretty much everyone else except her daughter (Mila Bogojevic). On top of that, she develops physical and especially mental issues, including apparent hallucinations.

The Whale (2022)

Even before seeing the A24 logo, I knew that this would not be a fun feature. Having Darren Aronofsky at the helm wouldn't help. But it looked like one of the more intriguing offerings on my list, different enough from my recent viewings, and short enough (117 minutes) that I might not see fit to split it over two nights.

In modern Idaho, Charlie (Brendan Fraser) teaches online college literature courses with his camera off, because he'd rather hide his Class III obesity. In the first scene, he gets a heart attack but refuses to go to the hospital for financial reasons, even tho he can well afford it. The screen indicates each new day of the week, hinting that he really doesn't have long to live. Will he make peace with himself and his few acquaintances in time?

21 Jump Street (2012)

This stops streaming on Netflix today, hence my prioritization. All I knew going in was that it's a buddy cop action comedy based loosely on a same-name TV series -- a dramatic one, oddly enough. That didn't work well for Dragnet, but the movie and show of 21JS have the same moderately high IMDb rating. Hey, the central premise does sound ripe for laughs.

In an unspecified modern U.S. city, wimpy geek Morton Schmidt (Jonah Hill) and book-dumb jock Greg Jenko (Channing Tatum) become unlikely friends as twenty-something cops. After an abortive drug bust, they are assigned to the titular address, where Captain Dickson (Ice Cube) orders them to pose as high school students to trace the source of a dangerous new drug among the students. Since the duo don't study enough in advance, they accidentally swap aliases, so Schmidt takes an acting class and runs track while Jenko has to learn AP chemistry. This works out better than you'd think, but they have trouble coordinating with each other, and Dickson is losing what little patience he had with them.

American Psycho (2000)

Of all the horrors on Netflix I hadn't seen, this was the one I'd heard about the most. Partly, I suppose, because it's relatively old. My visiting friend hadn't seen it either, so we chose our viewing quickly.

In 1987, Patrick Bateman (Christian Bale, five years before he dropped the E from "Bateman") is a Wall Street investment banker with a luxurious lifestyle, often going to upscale restaurants with co-workers. That doesn't mean he enjoys it; as his first-person narration indicates, he can feel only greed and disgust, even toward ostensible fiancée Evelyn (Reese Witherspoon). At first, the only clear sign of something wrong with him is that he needs little provocation to make gory threats. Then his bloodlust grows beyond his full control, no longer reserved for envied colleagues and homeless people. How long can he hope to get away with murder?

Nyad (2023)

I knew almost nothing going in, except that Netflix recommended it when I asked for a yet-unavailable Oscar nominee. It has a higher IMDb rating than several other suggestions, tho 7.1 is still pretty low as these things go.

Diana Nyad (Annette Bening) gained fame in the '70s for setting distance swim records. Most of the movie is set in the 2010s, when she's in her early 60s. To fight boredom, she starts swimming again. In fact, she plans to do what she failed to do at 28 and what no one else has done: swim from Cuba to Key West. Few people have any confidence that she can, but her determination wins support, however shaky, from close friend Bonnie Stoll (Jodie Foster) and navigator John Bartlett (Rhys Ifans). Indeed, Diana gets a boat with dozens of people to sail alongside her for food, drink, medicine, defense against sharks, and rescue if needed. It's as expensive as it is dangerous, yet she'll try as many times as it takes to reach the goal or die. You've probably guessed correctly that this story wouldn't be told unless she made it, albeit on the fifth attempt.

Anatomy of a Fall (2023)

In the wake of the Academy Awards, I feel a little more motivated to watch the nominees. This was the only one playing at a nearby theater this week, apart from Oppenheimer. The showing included closed captioning, which suited me fine given the accents.

Novelist Sandra (Sandra Hüller) and her preteen son, Daniel (Milo Machado-Graner), find her husband, Samuel (Samuel Theis), dead of a head injury outside their French alpine lodge, evidently having fallen from a higher floor. No eyewitnesses to the event come forward. Investigators discover enough fishy details to cast doubt on the idea of an accident. Sandra's lawyer friend, Vincent (Swann Arlaud), advises a focus on the possibility of a suicide, while the prosecutor (Antoine Reinartz) at her trial leans heavily on the likelihood that she killed Samuel. Daniel testifies in her favor, but his word carries only so much weight. (Funny how almost all the characters have first names spelled the same in English.)

Maestro (2023)

My parents recommended this to me. I obliged partly because it was easy to find streaming. It actually has the lowest IMDb score of all current Best Picture nominees, but it still looked more promising for me personally than some of the others.

The story follows Leonard Bernstein (Bradley Cooper) from his big break conducting the New York Philharmonic in the 1940s to a retrospective interview in the 1980s, with a bit of skipping. The emphasis lies on his relationship with Felicia Montealegre (Carey Mulligan), whom he marries and has three kids with despite his preference for men. She's not just a "beard" to him; he does love her, at least sometimes. But his extramarital affairs aren't discreet enough to prevent rumors, and they and his heavy smoking and drinking start to drive a wedge between him and Felicia.

Mean Girls (2004)

That's right, the original, not the musical currently in theaters. I had no desire to see it when it debuted, but people have continued to make references to it. Then I put it on my Netflix list and kept passing it over. What finally persuaded me? A limited DVD selection at the Red Cross while I gave platelets. (That unit was having technical difficulties with streaming.)

Cady (Lindsay Lohan) has been homeschooled up until age 16, leaving her good at grades but naive about the social environment at her new high school. Her first friends are outcasts, Janis (Lizzy Caplan) and Damian (Daniel Franzese), who warn her about the elitist clique known as the Plastics, especially leader Regina (Rachel McAdams), Janis's former friend. Nevertheless, when the Plastics invite Cady to join, she doesn't resist. Janis sees this as a golden opportunity to gather dirt on them and possibly engineer revenge. Cady agrees after discovering how bad Regina is -- and then comes dangerously close to becoming just like her.

Nimona (2023)

My inclusion of this on my Netflix list was quite tentative. The ad had looked only so promising, and I hadn't heard of the graphic novel on which it's based. But the Academy has nominated it for Best Animated Feature, and I've seen only two other nominees for the year so far.

The main setting looks like a near-future metropolis, except that knights in shining armor are still around, sworn to protect the realm from magical threats. Sir Ballister "Bal" Boldheart (Riz Ahmed) stands out as the first commoner ever to be knighted, facing mixed reactions. At the knighting ceremony, his sword fires a laser beam and kills the queen (Lorraine Toussaint). Seemingly everyone else, even boyfriend Sir Ambrosius Goldenloin (Eugene Lee Yang), presumes he intended as much. (It doesn't help that he sports black armor and facial hair.) Bal escapes and lies low, trying to figure out a way to clear his name. The first entity to find him is Nimona (Chloë Grace Moretz), who usually presents as a fangy teen girl but is actually an ancient, super-speedy shapeshifter. As a fellow vilified outcast, she insists on being his sidekick in whatever he plans next.

tick...tick...BOOM! (2021)

This sat on my Netflix list quite a while before I actually looked at the description. The title and poster image didn't grab me, but then I saw that it was a musical directed (not composed) by Lin-Manuel Miranda. And at about two hours, short enough for a comfortable night's viewing.

In 1990, 29-year-old Jonathan Larson (Andrew Garfield) is a bit of a starving artist, waiting at a New York diner but failing to pay his energy bills. He badly wants the sci-fi musical he's writing to be a Broadway hit, but he's stagnating on a key song advised by Stephen Sondheim (Bradley Whitford) in a workshop. As the deadline draws near, Jonathan neglects everything else, including girlfriend Susan (Alexandra Shipp) and gay best friend Michael (Robin de Jesús).

Wendell & Wild (2022)

In my continuing quest for Halloween-type movies that I haven't seen before and might want to, I accepted Netflix's up-front suggestion, which they had pushed quite a bit last year. It has fared a bit better with critics than with general audiences, but hey, I've seen and reviewed less popular on this blog.

At 13, delinquent Kat (Lyric Ross) gets transferred to a Catholic girls' boarding school in her fading former hometown, Rust Bank. There she discovers a captive demon (Phoebe Lamont) who makes her a "hell maiden" able to summon Wendell (Keegan-Michael Key) and Wild (Jordan Peele), two disgraced sons of underworld lord Buffalo Belzer (Ving Rhames). She wants them to bring back her parents (Gary Gatewood and Gabrielle Dennis), whose deaths she had accidentally caused ages ago. The boys stumble on the revitalizing properties of their dad's hair cream. They also learn that two execs (Maxine Peak and David Harewood) could pay them enough money to start their own afterlife amusement park -- provided they use the cream only on the dead councillors who could sway the vote in favor of turning Rust Bank into a prison complex, a motion otherwise unanimously opposed. Let's just say demons aren't so good with promises. But despite Kat's efforts to avoid friendships lest she jinx more people, she can get a fair amount of support from certain students and faculty to save both the town and herself.

Let the Dance Begin (2023)

This may be the first time in eight years that I attended the Latin American Film Festival at AFI. It took my parents' invitation to get my attention. The plot of this entry sounded more fun than most.

Carlos (Darío Grandinetti) is a famous former tango dancer who went on to coach in Spain. One day, his old friend Pichuquito (Jorge Marrale) reports that Carlos's erstwhile wife and tango partner, Margarita (Mercedes Morán), has committed suicide. Carlos flies to Argentina, goes to the funeral, and then learns that "Marga" faked her death, largely because he wouldn't come otherwise. She confesses to lying about an abortion 40 years ago, and she wants his company in visiting their son for the first time since she gave the baby up for adoption. Carlos makes up an excuse to his current wife, Elvira (Pastora Vega, not that one), for not returning on schedule and joins Marga and "Pichu" (not that one) on a two-day road trip.

As you may have guessed, Carlos is very reluctant. First he furiously denies the possibility of a son. He and Marga had not parted on good terms, so he wouldn't put it past her to seek vengeance. Then he worries about riding in a van about as geriatric as its passengers. Elvira gets suspicious and says that he's much needed back home. And setbacks along the way reinforce his conviction that the drive was a mistake.

Wikipedia lists only eight actors in total; IMDb stops at six. It's not like no one else gets spoken lines. My parents and I wouldn't be surprised if most had no professional acting background and were simply geographically convenient. Several minor characters do appear smiling during the end credits.

At any rate, we don't doubt the professionalism of the leads. They really tie the picture together with their complicated feelings, including between Carlos and Pichu. It soon becomes clear that Marga and Pichu continue to share secrets they haven't told Carlos by the start of the journey, which adds to the tragicomic awkwardness.

The theater audience laughed quite a bit. I found the humor just OK. Maybe it works better for people of relevant heritage, of whom there were many in attendance. As it happens, my parents and I had visited Argentina briefly, but only now did we realize how difficult it is for us to understand Argentinians compared with other Spanish speakers, even with subtitles to hint what words they might have used.

Fortunately, the humor was adequate for alleviating my mood in light of the more serious moments. Things move pretty slowly for 99 minutes, but I hardly noticed; the pace no doubt serves its purpose. And for all the characters' flaws that drive each other nuts, we see why they care. As do we.

For a story of three seniors driving across open country, LtDB is engaging. My family may well have chosen the best option in the festival.