Hit Man

Director: Richard Linklater
Starring: Glen Powell, Adria Arjona, Austin Amelio, Retta, Sanjay Rao, Gralen Bryant Banks, Molly Bernard, Evan Holtzman
Running Time: 115 min.
Rating: R

★★★ ½ (out of ★★★★)

Hit Man finds director Richard Linklater again in top form, transforming a potentially clever premise into one of his most rewarding efforts in years. But even more importantly, its smart script provides an ideal acting showcase for Glen Powell, who we've already suspected has all the talent and charisma to emerge as a major movie star. That it hasn't happened yet is somewhat perplexing, but this brings him another step closer, further confirming his underappreciated range as an actor.

After building strong word of mouth on the festival circuit, Netflix's decision to sit on this film for a year caused understandable skepticism. But it's Linklater we're talking about, who somehow always manages to subvert expectations when adapting quirky, esoteric material. Similar to his 2011 crime comedy caper Bernie, it's loosely based on a Texas Monthly magazine article by Skip Hollandsworth. Except he aims higher this time, making for an even more fulfilling experience.    

Gary Johnson (Powell) is an ordinary, mild mannered psychology professor at the University of New Orleans who moonlights assisting police with undercover sting operations. But when sleazy cop Jasper (Austin Amelio) is suspended from the force, Gary's chosen to temporarily fill his position as a fake hitman, obtaining confessions and payments from suspects. Tailoring unique personas to each suspect, he quickly impresses co-workers Claudette (Retta) and Phil (Sanjay Rao) with both his acting and eventual conviction rate. 

When Gary adopts the cool, slick guise of "Ron" to extract a confession from a woman named Madison (Adria Arjona), he finds himself instantly attracted to her. She wants her abusive husband killed but their meeting seems more like a date, with him advising that she keep the money and start a new life. Criticized for letting a potential conviction slip through his fingers, Gary/Ron later begins secretly seeing Madison, raising the ire of her volatile ex. But as Gary attempts to conceal his actual identity from Madison and this relationship from police, an even larger problem emerges that will put his true feelings for her to the test.  

What's so clever about this script is how it constantly keeps us off balance, lulling us into thinking the plot will play out exactly how it usually does in a movie like this. Gary will become romantically entangled with Madison and her ex becomes a factor, but that's where the predictability ends. Linklater lays out his thesis in the opening minutes, with an awkward, bespeckled Gary dryly lecturing his disengaged psychology class about how people hide their true selves, instead projecting the persona of who society expects them to be. 

The question of whether anyone can really change lays the story's foundation, with Gary's ex-wife Alicia (Molly Bernard) very skeptical he has the capacity. But this new undercover police gig brings something out of the self-professed science geek and avid bird watcher he didn't even know existed. And after meeting Madison, the line between Gary and the more confident Ron becomes blurrier, eventually evaporating. 

The most memorable sequence is a montage of him at work, sliding in and out different disguises, personas and accents, resembling everyone from Tilda Swinton to Christian Bale's Patrick Bateman in American Psycho. There's a particular restaurant scene where we watch him in action from start to finish and it's sort of a revelation seeing how desperate suspects assume this total stranger will risk everything and commit murder for a bag of cash. But as Gary narrates in a sparse, effective voiceover, their minds are made up long before they call him. He just gives them that last little push.  

While discovering his psychology background provides the perfect tool for reading hapless, unsuspecting sting targets, he encounters one who breaks all convention. And the more Madison gets to know Ron the harder it becomes for him to tell her he's Gary, and even convince himself of the same. The enjoyment is in how Powell plays both sides, subtly revealing glimpses of each persona residing in the other. But reconciling both will prove to be his character's biggest challenge.  

Without giving away too much, the actual danger comes in the potential exposure of this relationship, but it's loads of fun watching the back and forth between a pair who practically ignite the screen with their chemistry. As strong as Powell is in a deceptively difficult role, the delightfully funny and expressive Arjona equals him, bringing a playful energy to the proceedings we don't often see in this genre. If he's a star on the cusp, she's one in the making, and their scenes together are a big reason why so much of this clicks. Austin Amelio also impresses as this slimy cop Jasper, who's either much dumber or smarter than he looks. 

A lesser film would ratchet up the violence and sight gags to grab our attention, creating an obvious predicament where our lead becomes an overnight action hero. But this operates on a more sophisticated level, with intelligently written characters engaging in an unpredictable chess game full of twists and turns. And much of that success can be traced to star and co-writer Powell, who gives multiple performances as a likable, seemingly milquetoast protagonist dragged into an increasingly dark, noirish situation. Arriving at a point where almost anything can happen, Hit Man explores the lengths some go to not only hide their identity from others, but themselves.               

Civil War

Director: Alex Garland
Starring: Kirsten Dunst, Wagner Moura, Cailee Spaeny, Stephen McKinley Henderson, Sonoyo Mizuno, Jefferson White, Nelson Lee, Nick Offerman
Running Time: 109 min.
Rating: R

★★★★ (out of ★★★★)  

It seems the biggest obstacle still facing those on the fence about seeing Alex Garland's unnervingly realistic dystopian thriller Civil War is the worry it's too political. Trailers and commercials have done little to alleviate those concerns, prompting many to already file this under "the last thing we need right now." But the biggest surprise to come out of this harrowing war drama and road trip movie is just how apolitical it actually is. Instead, it's the harsh immediacy of Garland's fictitious scenario that stands out, rarely offering a breather from the emotional and psychological trauma engulfing these characters.

Clearly intended to serve as a cryptic warning, Garland knows it isn't about picking sides, but crafting a sci-fi parable where there are no easy choices. What separates us destroys us and that certain details remain vague feels fitting since audiences will just end up projecting their own beliefs and viewpoints onto it anyway. Everyone sees themselves as the hero in their own story, with the film far less interested in the cause of this polarization than its potentially dire consequences.

The United States is in the midst of a civil war and an authoritarian government led by a third-term president and accused fascist (Nick Offerman) is on the verge of surrendering to the Western Alliance, consisting of armed militias from Texas and California. With the entire nation split into various factions, jaded war photographer Lee Smith (Kirsten Dunst) and her Reuters colleague Joel (Wagner Moura) plan on driving to Washington D.C. to interview the embattled president. Their mentor Sammy (Stephen McKinley Henderson) views it as a careless suicide mission, but joins in to get a ride to Charlottesville, Virginia's front line. 

Also tagging along is aspiring young photojournalist Jessie Cullen (Cailee Spaeny), who Lee encountered during a previous bombing and is none too happy about "babysitting" on this trip. Soon, all four are thrown headfirst into deadly situations few in any profession would be capable of handling. Evading sniper fire and ruthless militants, they continue their trek to D.C., unsure of the violence that awaits, providing they survive long enough to experience it.

There's no voice-over telling us who's in what faction, why certain states seceded, nor are we given an extensive recap detailing the background. Like the characters, we're just kind of dropped into this hell and given enough respect to figure things out on our own without sermonizing or judgment, making the unfolding atrocities all that much scarier. And while valuable information is frequently dispensed, most of it comes through these journalists as they struggle to objectively navigate this brutal situation. 

Texas and California's union indicates the script isn't tipping its hand in either direction, as it shouldn't since these events are presumed to be taking place in a hypothetical future. That detractors have ignored this is a credit to the film's realism, further supporting its point that a similar scenario is right around the corner if work isn't put in to prevent it. Well beyond politics, wars often begin for crazy, pointless reasons that only seem logical to those who start them, yet always remain preventable before, during and after they're already underway.    

This is far from Lee's first rodeo, mastering the art of compartmentalization because no photograph is off limits. For her, Jessie's presence is an irritant, most likely because the sensitive, inexperienced Missourian represents the younger version of herself she had to leave behind to do this. If Lee's flattered by Jessie's idolization of her, she sure won't show it, which is hardly a surprise coming from someone who admits she wouldn't hesitate photographing her newest protege being killed. And when a traumatized Jessie freezes during a scary gas station encounter, Lee's stone cold reaction only confirms it.

While unquestionably an ensemble effort, it's Dunst's movie, barely hinting what lies beneath Lee's numb outer shell as it finally starts to crack, the lines and expressions on her face telling us everything we need to know. And having recently played a naive, impressionable character thrown into a world she can't comprehend in Priscilla, Spaeny portrays another odd woman out in Jessie, who's underestimated at every turn. Wanting nothing more than to walk in the shoes of her idol, she'll get that chance, but this rite of passage won't be worth celebrating. 

If Jamie represents who Lee was, it's Sammy she fears becoming, and veteran character actor McKinley Henderson plays him with a plainspoken sincerity and wisdom that comes from experiences the rest don't yet have. A New York Times field reporter aging out of his job, he knows the score and despite his awful, sinking feeling about this trip, he's not quite ready to ride off into the sunset. Of the four, Maura's Joel is the risk-taking adventurer, but even he'll realize this is way more than any of them bargained for. None have the luxury of denying reality, unlike the residents of a quaint, unaffected rural town they'll pass through, as if it were a stop in The Twilight Zone.

The film's scariest moment comes when the four encounter a sadistic militia leader played by Jesse Plemons in a brief, terrifying turn that makes his Todd from Breaking Bad seem like a boy scout. It's also the point where Garland draws a line in the sand, forcing us separate the few details we know about this conflict from evil in its purest form. And in a film filled with jarring, unforgettable shots from cinematographer Rob Hardy, this sequence provides its queasiest, paving the way for a brilliantly shot action finale that sees Western Forces descending upon D.C. in search of a secluded president running low on options.

It's hard to believe a picture this gigantic in scope runs just under two hours, but Jake Roberts' editing ensures that the pacing never lags and there's barely a minute to come up for air, with fear and dread intruding on even the quietest of scenes. Zeroing in on the involuntary instincts that kick in when confronted by humanity's worst, these adrenaline-addicted journalists are rightly scared to death, but joined by a shared obsession to tell the story through their lens, whatever the cost. In depicting a nation fraying at the seams, Civil War recognizes the media's reckless ambition, while also acknowledging just how much of themselves get lost in the process. Everyone thinks they're ready, but it isn't until entering the belly of the beast that they'll find out.                                  

Challengers

Director: Luca Guadignino
Starring: Zendaya, Josh O' Connor, Mike Faist, Darnell Appling, Shane Harris, Nada Despotovich, AJ Lister
Running Time: 131 min.
Rating: R

**The Following Review Contains Plot Spoilers For 'Challengers' **

★★★ ½ (out of ★★★★)

Luca Guadignino's romantic sports drama Challengers almost has no business being as good as it is, exploring an extremely complicated relationship between three characters that spans over a decade. They fail, succeed, grow and emotionally tear each other to shreds while its non-linear structure serves as a window into their conflicting personalities. And if the use of multiple timelines often come across as narrative gimmicks in lesser instances, this really gets it right, enhancing the story through multiple eras. 

Highlighted by Guadignino's eye-opening directorial flourishes and gripping performances, it also benefits from playwright Justin Kuritzkes' incisive screenplay which along with a thumping, propulsive score from Trent Rezor and Atticus Ross give these proceedings the urgency of a high stakes thriller. With actual tennis scenes that easily eclipse 2005's embarrassing Wimbledon and the mediocre Battle of the Sexes, its action compares more favorably with King Richard. But the real difference comes off court, where this takes a less conventional approach than each, raising the sport's spotty record on screen. By bothering to get into the headspace of these athletes, we get a funny, wildly entertaining ride full of surprising twists that only enhance the love triangle at its center.  

It's 2019 and pro Art Donaldson (Mike Faist) comprises one half of a famous tennis power couple with wife and coach Tashi Duncan (Zendaya), a former collegiate standout forced to retire after suffering a knee injury while playing for Stanford. Now with Art a U.S. Open title away from completing his career Grand Slam, he's in a slump, with multiple losses chipping away at his confidence. Thinking Art still has a last run left, Tashi enters her husband as a wild card in a lower level ATP Challenger event in New Rochelle, New York, hoping some wins can return him to top form.

On the other side of the draw is Art's former best friend and junior doubles partner Patrick Zweig (Josh O' Connor), who's barely scraping by on tournament earnings, his pro career marked by disappointment and an inability to move past Art marrying ex-girlfriend Tashi, ending their longtime friendship. With Art having never beaten Patrick, they'll now face off again in the finals with Tashi in the stands, and much more riding on the outcome than just pride and prize money.

When we're first introduced to Tashi and Art, it isn't immediately apparent that the scruffy nobody standing across the net will be his toughest opponent, if only due to their complicated personal history. What appears to be just another match in the opening minutes will start to take on an increased importance, as Guadignino utilizes the dual timelines to constantly inform the trajectories of these three intrinsically linked characters. 

As the disheveled Patrick, O' Connor definitely makes an entrance, begging to stay free at a local motel, sleeping in his car overnight in the club's lot and mooching food off a tournament official. There's a lot of humor in these scenes, mainly because it feels like an authentic, unflattering portrayal of what the bottom of the barrel looks like for a struggling pro, each loss further paving his path to obscurity. And of the three, O' Connor is the most believable player, investing the sometimes explosively tempered Patrick with realistically weird quirks, like his character's unorthodox serve.     

To understand how these former friends got here the film flashes back to 2006 when the newly crowned U.S. Open junior doubles champions become infatuated with up-and-coming prodigy Tashi, who definitely knows it. We're not sure exactly what she's planning when agreeing to stop by their room after a sponsorship event, but a sultry, magnetic Zendaya turns on the sarcastic charm and takes over in these flashback scenes. Tashi slyly pits the two against each other, wrapping them around her finger as things get steamy. But it's more noteworthy for the power dynamic that emerges when she proposes Art and Patrick have a match to earn her number. 

Faist and O' Connor do an exceptional job subtly conveying their characters' distinctive personalities, with the quieter, less experienced Art seeming miles removed from a far less motivated Patrick, the rebellious bad boy used to getting what he wants. They don't necessarily change or worsen when Tashi enters the picture, nor do our opinions budge that they're fairly good guys, but she knows all the buttons, to push, bringing their weakest qualities and biggest insecurities to the surface. 

When Tashi's playing future is wiped out, the first obvious signs of jealousy emerge between friends, forcing us to contemplate the possibility she desperately needs to be with a winner to feel complete, whomever that is at the moment. Patrick's unwillingness to become a "Duncanator" fan club member and his casual dismissal of their relationship turns her off, but him failing as a pro is the bridge too far. 

While Art worships the ground Tashi walks on and takes his feelings for her more seriously, that may  not be a plus. Hardly the white knight, Art's more than willing to stir the pot, planting seeds of doubt in Tashi's mind about his friend's intentions. But we know better, as she and Patrick couldn't be more similar, constantly putting up barriers to hide just how much they really do care, investing nearly all their emotional energy into pretending not to give a damn. 

Despite the extensive training she received by tennis great Brad Gilbert, Zendaya still has to overcome audiences preconceptions enough that they buy her as a top player and coach on screen. It's something fellow Spider-Man alumnae Kisten Dunst and Emma Stone know all about, having both tackled a similar task in their tennis-centric films. But with better editing, direction and material that emphasizes Zendaya's strengths as a performer, most of her rougher patches are smoothed over. 

Ironically enough, Zendaya's best tennis scene is her last, while when Tashi's practicing with Art following her injury, she demands he not hold back, only to painfully realize it's over. She's done. And it's here where the actress seems to fire on all cylinders with the groundstrokes, racquet throw and subsequent tantrum. Yet none of this matters nearly as much as how well she rides the ups and downs of her character's shifting loyalties over the course of thirteen years. 

The brief shot of Tashi sitting under a tree contemplating the enormity of what's happened feels like the film's defining shot, not to mention an inflection point for all three. With Patrick out of the picture, Tashi pours everything she has into Art's career, living vicariously through his accomplishments. More wrenches are thrown into the equation before returning to the pivotal 2019 final. For Art, a loss means not just the end of a career, but possibly his marriage. And for Patrick, this may as well be his last chance at anything.

Filled with slo-mo, crazy POV camera shots from the perspective of the competitors, ball, and even underneath the court, the match hinges on a huge call-back, with Guadignino completely pulling the rug out with a Whiplash-like resolution. He directs the hell out of it, even if many will be thrown by his loose interpretation of the sport's rules, and maybe even the laws of physics itself. But that's the strictly literal reading of a scenario where all three characters are reunited by the addictive thrill of competition that first brought them together. 

The film's hook is how its backstory fills in the blanks, leading us back to where we began, only with more on the line than initially expected. Smart and stylishly made, some might consider Challengers' unpredictable outcome controversial, but it sure has a lot to say about the games people play with each other, both on and off the court.                           

Ghostbusters: Frozen Empire

Director: Gil Kenan
Starring: Paul Rudd, Carrie Coon, Finn Wolfhard, McKenna Grace, Kumail Nanjiani, Patton Oswalt, Bill Murray, Dan Aykroyd, Ernie Hudson, Annie Potts, William Atherton, Celeste O' Connor, Logan Kim, Emily Alyn Lind, James Acaster
Running Time: 115 min.
Rating: PG-13

★★½ (out of ★★★★)   

We've been waiting so long for a true Ghostbusters sequel that when Afterlife finally arrived in 2021, it couldn't help but feel a little anticlimactic. With Jason Reitman taking the directorial reigns from his late father, a total overhaul wasn't just necessary, but inevitable, placing him in the difficult spot of rebooting this property with an entirely new plot and fresh characters. Now after mixed results, it earns another go-around with Frozen Empire, as co-writer Gil Kenan steps in, moving the story back to the city where everything started in 1984. 

Reitman's decision to have the previous sequel focus on an Oklahoma based ghost busting team of Spengler grandchildren aided by their mom and science teacher seemed to please more fans than it offended. So even as legacy cast members were sidelined and its ending felt cribbed from the original, it still had enough moments to wipe away the bad taste of Paul Feig's 2016 attempt at reviving the franchise. But despite a familiarly nostalgic setting that does help alleviate certain creative issues, some of the same challenges persist, with the film struggling to utilize its packed cast in what should be a relatively simple, straightforward story. 

Three years after the previous film's events, Callie Spengler (Carrie Coon) and boyfriend Gary Grooberson (Paul Rudd) have moved to New York City with her kids Trevor (Finn Wolfhard) and Phoebe (McKenna Grace) to help original Ghostbusters Winston (Ernie Hudson) and Ray (Dan Aykroyd) reestablish operations at the old firehouse location. As longtime nemesis turned mayor Walter Peck (William Atherton) looks to shut the business down and jail them for employing an underage Phoebe, she befriends teen ghost Melody (Emily Alyn Lind) in the park, realizing they have more in common than either assumed.

Meanwhile, a man named Nadeem Razmaadi (Kumail Nanjiani) claims to have inherited a strange brass artifact from his grandmother and convinces Ray to purchase it for his curiosities shop. But when the team discovers the mysterious orb houses the evil god Garraka, research reveals his release will lead to the recruitment of an undead army to freeze and conquer Earth. With this demon's sights set on the firehouse's ecto-containment unit, the Ghostbusters will need all hands on deck to save the city and world from complete annihilation. 

Packing up and heading to NYC for the follow-up wasn't just an inspired idea, but a necessary one considering that's where this incarnation of the franchise belonged to begin with. Still, it's hard to begrudge Reitman for continuing the story he built around Egon's family, even if parent/teen team isn't exactly what fans envisioned as the next generation of Ghostbusters. Auxiliary players like Lucky (Celeste O' Connor) and Podcast (Logan Kim) are back, but more than a few others are added, like  returning antagonist Peck and another classic favorite in Janine Melnitz (Annie Potts). That the latter's appearance feels more like a cameo is almost a foregone conclusion given everything Kenan and Reitman try to jam in. 

Of the three originals, Akyroyd inexplicably has the largest, most involved role again, though he does well with what he's given. The underused Hudson and Bill Murray believably slide back into their suits, but it's clear they won't factor in until the climax. This is really about the Spenglers, with a script building on that dynamic and including enough callbacks to please fans, like Slimer and those mischievous Mini-Puft marshmallow men. As for the action sequences, they're mostly on par with its predecessor, which is to say they accomplish what's necessary. 

If this demon Garraka looks and feels like it just stepped out of The Upside Down on Stranger Things, the film's also noticeably overstuffed with supporting characters and excess plot. Patton Oswalt's public librarian and James Acaster's Dr. Lars Pinfield (who oversees Winston's new paranormal research center) are superfluous additions while Kumail Nanjiani delivers the same comedic schtick he's been doing in every other project lately. 

Exiled from the team and quietly rebelling from her family, Phoebe's bond with this droll, sarcastic spirit Melody is the film's most successful attempt at meaningful character development, as the relationship carries both positive and negative repercussions for the sensitive teen. Sincere enough that it's almost too dramatic for Ghostbusters movie, her arc is easily the best thing in the sequel, with much of that due to Grace's believable performance.

This installment comes closer to working by superficially invoking vibes similar to the original two. But it's also full of plusses and minuses that put it at or around the same level as Afterlife, if only slightly higher. The good news is that Reitman stepping aside wasn't the red flag many assumed since it's unlikely he could have done any better with this material than his replacement. Enjoyable enough, Frozen Empire is about as good as we're going to get right now, so at least that's something.         

The Fall Guy

Director: David Leitch
Starring: Ryan Gosling, Emily Blunt, Aaron Taylor-Johnson, Hannah Waddingham, Teresa Palmer, Stephanie Hsu, Winston Duke, Ben Knight
Running Time: 126 min.
Rating: PG-13

★★★ (out of ★★★★) 

An action comedy on steroids, The Fall Guy is so over-the-top it's almost daring you to hate it, as director and former stuntman David Leitch frequently plays with the concept of satirizing the very picture he's making. Somewhere, Michael Bay is fuming his potential dream project got away, even if he'd probably struggle balancing its odd sensibilities, quirky humor and peripheral love story. To be fair, Leich sometimes wrestles with it, but he and writer Drew Pearce keep chipping away and succeed, even amidst all the craziness. 

Carried by Ryan Gosling, who's rarely been cooler, it plays like a fun mix of the actor's comedic turns in The Nice Guys and Barbie with his previous stuntmen outings in Drive and The Place Beyond the Pines. But despite him occupying Lee Majors' title role from the 1980's TV series, the movie does its own thing, taking only faint influences from its source to spoof modern day blockbusters. Earning laughs at the industry's expense, the script's spotty at points, but Gosling's star power and versatility more than cover. Deserving of a larger audience, this dares to be a little different, establishing itself as the big event movie that somehow slipped through the cracks.

Colt Seavers (Gosling) is a Hollywood stunt double for famous and cocky action star Tom Ryder (Aaron Taylor-Johnson) until suffering a serious on set injury, causing him to abandon his job and camerawoman girlfriend, Jody Moreno (Emily Blunt). But while working as a parking valet at a Mexican restaurant 18 months later, he gets a call from Tom's producer, Gail Meyer (Hannah Waddingham), who convinces him to return for first time director Jody's debut film, the sci-fi epic Metalstorm. 

When Colt arrives in Sydney for the production, it's apparent Jody doesn't want him there, and as tensions persist between them, Colt's informed by Gail that Tom has mysteriously disappeared. In an effort to save Jody's first feature, Colt agrees to track the star down, only to find himself sucked into a dangerous criminal cover-up. With his life and the movie in jeopardy, he'll get closer to discovering what really happened to Tom, while still desperately pining for a reconciliation with Jody.

If Gosling seems born for this, Blunt's a shakier fit as an up-and-coming director, which sort of tracks since Jody's supposed to be a rookie filmmaker flustered by the various obstacles she faces and her conflicted feelings toward Colt. Still, it isn't always easy to buy her character as the director of a surefire bomb that resembles a embarrassing hybrid of Mad Max and Cowboys and Aliens. But even when this gets occasionally too meta for its own good, she shares a decent amount of chemistry with Gosling, which is what matters here. 

After an inventive opening title sequence, we're asked to immediately invest in Colt and Jody, but the bickering plays better once the main narrative kicks in and their relationship is fleshed out a little more. Viewers may have to get past the idea of anyone resuming their stunt career after such a devastating injury, but the plot's big set-up works, especially when it results in thrilling set pieces like a chaotic apartment shoot-out and a high speed garbage truck chase through Sydney's streets.

While there are a few twists and turns, funny inside references, Colt crying to Taylor Swift songs, and a clever use of split screen, Leitch leaves his most elaborate sequence for last. To say this finishes strong is an understatement, and if it's Gosling's film throughout, there are still some lively supporting performances from Johnson, Stephanie Hsu as Tom's personal assistant, Winston Duke as Colt's stunt coordinator and the unrecognizable Waddingham, who really goes for it in giant glasses and a wig as this big shot producer. 

Containing all the ingredients required for a massive hit, you still have to wonder if prospective viewers confused about its intentions decided that just sitting this one out was safer. Full of wacky characters and eye-popping action, it's all over the place, but deliriously entertaining as a result. Some have called it a love letter to stunt performers, and even if that compliment conveys a sincerity the film's trying to lampoon, they're not wrong. Among The Fall Guy's charms is how heavily it relies on practical effects and real stunt work, possibly taking more inspiration from the original series than it's gotten credit for.

The Idea of You

Director: Michael Showalter
Starring: Anne Hathaway, Nicholas Galitzine, Ella Rubin, Annie Mumolo, Reid Scott, Perry Mattfeld, Jordan Aaron Hall, Mathilda Gianopoulos, Meg Millidge
Running Time: 116 min.
Rating: R

★★★ (out of ★★★★)

Michael Showalter's The Idea of You explores that weird phenomenon of coming face-to-face with a celebrity and realizing they're an actual person rather than a famous construct you don't know at all. In other words, you're forced to see them as human rather than some entertainment commodity intended for mass consumption. But this movie's single mom eludes that moment since the famous pop singer she meets views her as the real catch. Down to earth and relatable, she's unlike anyone he normally meets, and while it's infatuation at first sight, we get why.  

Consistently humorous and intelligently written, the film's generic title fools you into thinking it's another fluffy rom-com, but this adaptation of actress Robinne Lee's 2017 debut novel of the same name makes the most of a simple premise. And even its title makes more sense when considering the mere idea of a relationship seems crazy until each overcome their preconceived notions. It might work or not, but they at least have to try, resulting in an unusually smart dramedy that finds them discovering this could be even more difficult than they thought. 

On the eve of her fortieth birthday, divorced art gallery owner Solène Marchand (Hathaway) plans to spend the weekend on a solo camping trip, until she's contacted by scuzzy ex-husband Daniel (Reid Scott). Called away for work at the last minute, he's unable to take their teen daughter Izzy (Ella Rubin) and her friends to Coachella, causing Solène to reluctantly fill in, accompanying them to the festival's meet-and-greet with British boy band August Moon. 

Looking for the bathroom in a VIP area, Solène accidentally enters band member Hayes Campbell's (Nicholas Galitzine) trailer, resulting in an awkward but flirtatious encounter with the singer. Immediately smitten, he dedicates a song to Solène and even shows up later at her gallery. Despite feeling self conscious about their sixteen year age gap and the dissolution of her marriage, there's genuine chemistry. But as they embark on this exciting new relationship, she's forced to consider whether the unforgiving, judgmental glare of the spotlight is too much. 

It would be easy for viewers to roll their eyes at the script's implication Solène is somehow "old," a "cougar" or "past her prime" when Hathaway looks young enough to pass for her screen daughter's sister and not much older than the late twenties Galitzine. But that's hardly the point. The film isn't sexist by dwelling on age, but instead accurately reflecting how the public and media do. We know exactly how this relationship would be viewed so Showalter and co-writer Jennifer Westfeldt deserve credit for digging into it, enabling Hathaway to convincingly convey the mistrust and insecurity an average woman might feel in such a situation. 

Hathaway possesses an almost otherworldly presence and charisma, but she's always strongest playing real, everyday characters you wouldn't mind giving up your place in line for at the supermarket. Or in this case, the bathroom. A reminder of just how valuable she remains in the genre that launched her career, she smooths out some of the rough patches, like an improbable meet cute and a concert full of cringe worthy pop songs. Her lead performance is a big reason this amounts to much more than the gender swapped Notting Hill it was trumpeted as. 

Solène's resistance has less to do with her age than the lingering trust issues left over from a lying, cheating ex, while Hayes (who's clearly based on Harry Styles) is laid back, but persistent. His biggest fear is being viewed as a complete joke whose fifteen minutes are up, with little to show for it. Galitzine holds his own with Hathaway, believable as a charming, self-effacing pop star who's itching to prove himself as a person and artist, but could still be a womanizing bad boy capable of hurting her. Of course, there are also many scenes focusing on how his fame begins infecting every aspect of Solène's life, in ways both funny and profoundly uncomfortable.

The couple actually break up twice, first for a predictable reason, then again for a very understandable one, demonstrating how often it can all just be about timing. That this has a few endings should be a detriment, but Showalter's so good at balancing them that it actually improves the story. There's real purpose in delaying a payoff that hits harder than you'd expect, only to be topped by an aftermath worth sticking around for. Problems and complications may pile up, but they're earned, recalling many of those 90's rom-coms where likeable stars played interesting people worth rooting for.