The Pitt (Season 2)

Creator: R. Scott Gemmill
Starring: Noah Wyle, Patrick Ball, Katherine LaNasa, Supriya Ganesh, Fiona Dourif, Taylor Dearden, Isa Briones, Gerran Howell, Shabana Azeez, Sepideh Moafi, Shawn Hatosy, Laëtitia Hollard, Alexandra Metz, Ayesha Harris, Tal Anderson 
Original Airdate: 2026

**This Review Contains Plot Spoilers**

★★★★ (out of ★★★★)

In its sophomore season, the creator and writers of HBO Max's The Pitt provide an answer as to whether it's possible to improve on perfection. And still with just thirty episodes in the can, it feels as if we've past the point of calling it TV's best ever medical drama, easily clearing the bar set by its own executive producer John Wells' pioneering E.R. Instead, this occupies an entirely different realm reserved for only the upper echelon, putting to bed whatever lingering genre bias still remained.

What sets this apart isn't just the pressure cooker format of each episode being set in real time, covering the entirety of an emergency trauma center shift. Or even the onslaught of patients hovering between life and death as doctors attempt to treat them in the face of insurmountable overcrowdedness and staff shortages. 

While it all contributes, what stands out most is the show's commitment to letting these cases do the talking, each new catastrophe revealing more about these characters than any manufactured storyline could. But that isn't to say this lacks heightened drama, as the show's frenetic pacing and non-stop action makes it impossible to turn away. 

With its shaky-cam documentary style immersing us in the chaos, this season's tension is hammered home by a ten-month time jump, distinguishing it from shows that force viewers to wait three year for the next chapter. And since there's bound to be high turnover in a teaching hospital where new faces come and go, we get our first glimpse at how showrunner R. Scott Gemmill handles it, with one major departure and an influx of med students coming in to replace those moving up. But if frequent staff changes are business as usual in this kind of setting, it's still a scripted series where even the slightest shake-ups can upset the balance. The writers use this to prove that no character is bigger than the hospital or series itself, save for maybe just one. But now, even that's in doubt. 

It's July 4th weekend and Dr. Robby (Noah Wyle) is starting his last shift before a planned three-month sabbatical when he'll embark on a cross country motorcycle trip. Taking his place as senior attending in the interim is Dr. Al-Hashimi (Sepideh Moafi), a VA physician and supporter of using AI technology to treat patients. Working alongside Robby, the two clash over their differing methods as he becomes increasingly skeptical of her ability to run things while he's gone. Meanwhile, Langdon (Patrick Ball) makes his long waited return from rehab, discovering certain colleagues aren't thrilled that he's working in this hospital again. Topping this list is feisty second-year resident Dr. Trinity Santos (Isa Briones), who notably turned him in for stealing drugs, leading to his suspension.

Farm boy Dr. Whitaker (Gerran Howell) comes into his own as a more confident, capable intern, emerging as a protege and potential successor to Robby as a new crop of students arrive, including overconfident know-it-all James Ogilvie (Lucas Iverson) and sarcastic but highly intelligent Joy Quan (Irene Choi). And still carrying the trauma from last year's assault, charge nurse Dana Evans (Katherine LaNasa) is shows trainee Emma (Laëtitia Hollard) the ropes on a first day she definitely won't forget. 

As a stressed out Dr. Samira Mohan (Supriya Ganesh) and overwhelmed fourth-year med student Victoria Javadi (Shabana Azeez) are distracted by their overbearing mothers, Dr. Cassie McKay (Fiona Dourif) treats a woman dying from cancer while Dr. Mel King (Taylor Dearden) panics over her malpractice deposition and autistic sister Becca's (Tal Anderson) burgeoning independence. But when a technological catastrophe forces the entire staff to improvise, it's all hands on deck when Robby's frustrations simmer, his planned road trip looking unlikelier by the minute. And if he does go, there's no telling whether he'll come back.

If an emergency department is comparable to a revolving door, Dr. Al-Hashimi could either be viewed as the temporary replacement for Robby while he's away or an attempt to fill a crucial gap left by the departure of Tracy Ifeachor's senior resident Dr. Heather Collins. Or maybe a bit of both. Either way, she and Robby have a very different dynamic from the start, with him immediately questioning her expertise, judgment and ability to lead.  

Aside from Al-Hashimi's controversial AI fixation, she's a controlled, unshakeable and observant physician with flexibility Robby often lacks, especially during this shift. But if any mutual respect develops between them, it's mostly one-sided since the prideful, stubborn Robby would likely find fault in anyone temporarily chosen to take his spot, regardless of their skills or qualifications. 

As Robby's attitude worsens, we're introduced to the idea he's a martyr, intolerant of watching anyone fail at reaching the impossible standards he sets for himself. There were signs of this last season, but now the job's eaten away at his psyche, partially because he has no existence or purpose outside of it, making the decision to leave for a few months that much more agonizing. And while his instincts about Al-Hashimi are correct, it's not for the reasons he assumes, but rather a secret she's holding that becomes increasingly impossible to suppress.

The returning Langford is also waging an inner battle as the former cocky hotshot comes back significantly humbled and apologetic, fearing he'll no longer be the doctor he once was. But if the rehab stint changed him, Santos doesn't want to hear it, far preferring he be dismissed than get help or a second chance. And that few know the full extent of his actions is only more infuriating, as she's again forced to  work alongside a doctor who treated her like dirt on day one.  

With the show's accuracy continuing to earn high marks from those in the medical community, it again shows how massive cracks in the healthcare system affect doctors and patients alike. That's especially true for the mental well being of providers driven to burnout, addiction and far worse over the course of the season. There's also an emphasis on the violence many endure from disgruntled patients due to a lack of security and other protective safeguards.  

If there are any quibbles about what happens over these fifteen hours, it's the sheer volume of bizarre, once-in-a-career cases that take place consecutively within a single shift. But it's not as if any viewer could complain given the tension it generates, hardly allowing the characters to come up for air before another crisis hits, each more challenging than the last.

Though the show's whole rhythm and structure is built around the idea we never see or find out what happens to these patients once they're discharged (or flat out leave), some reappear. Whether it's last season's beloved regular Louie Cloverfield (Ernest Harden Jr.) continuing to drink himself to death or construction worker Orlando Diaz's (William Guirola) inability to afford coverage, we're reminded just how much is out of the physicians' hands. That reality is further reinforced when a few month old baby is found abandoned, becoming a representation of the hope and helplessness that defines their jobs. 

There's no better example of that than in the pivotal "1:00 PM" hour, when Dana and her trainee Emma collect evidence for a rape kit from victim Ilana Miller (an outstanding Tina Ivlev). Difficult to watch and feeling almost tortuously long, there's never been such a sensitive and precisely detailed depiction of this examination on television before. The silences are deafening as we watch a calm, understanding Dana walk this rape survivor through the most emotionally grueling process of her life. 

While Dana was already established as the glue that holds this trauma center together, the material LaNasa gets to work with is even better this time around, with her character desperately trying to provide compassionate care, even as the memory of her own attack remains, along with everyone else's safety. This is especially true when masked ICE agents arrive with an injured detainee, causing immediate hysteria throughout the hospital.  

Dana's mentorship of Emma is the season's most rewarding storyline, with actress Laëtitia Hollard bringing this sweetness and vulnerability to her character that nicely contrasts with Dana's no-nonsense, "tough love" approach. It's fascinating to watch the young nurse gradually win over her boss simply by listening, following instructions, doing the best she can and simply persevering. 

Though Emma's green and understandably intimidated, you can tell Dana's proud of this girl for powering through, already displaying many of the traits that should make her a skilled nurse. And in Dana, Emma gets a glimpse into her possible future once the naivete fades and she's hardened by the profession's cruelty, as scary as that seems. 

Whenever Shawn Hatosy's attending physician Dr. Jack Abbott appears, it's a safe bet business is about to pick up. After scrubbing in early last season for the PittFest shooting, he makes an even more impactful entry alongside an injured member of his SWAT team when a regional cyberattack forces the hospital to go offline. 

With everyone suddenly transported back to the stone ages with written charts and dry erase boards, Hatosy again makes a huge impression in short bursts, his character the only one capable of getting through to Robby at his worst. Abbott doesn't want him going on this trip, but not because he thinks his friend doesn't need a break. He's more worried what he'll do once he gets there, noting how therapy is preferable to him being left alone in his own thoughts. 

Robby proves Abbott right during this whole shift, as nearly every interaction he has is punctuated by either anger, sarcasm, harsh judgment or some combination of all three. Half a step away from blowing a fuse for hours on end, his lowest moment comes when he mocks Samira's "mommy issues" following a panic attack, yelling about how her personal issues are interfering with the patients' treatment. 

As usual, Robby's right, but his clumsy handling of the situation is an embarrassment that the more level headed, empathetic Al-Hashimi rightly calls him out on. Even his later apology to Samira is accompanied by a backhanded insult about her being better suited to the slower pace of elder care.

While she's she's strong enough to put up with Robby, Samira becomes his proverbial punching bag this season, a development that'll leave her with one foot out the door by the finale. Of course, we know now this fan favorite isn't returning, becoming the second in what's sure to be a longer list of departures that test our appreciation of sacrificing cast members for realism. As one of the show's standouts, Ganish goes out at the top of her game, while unfortunately leaving viewers with a sense there was more Samira story left to tell.  

None of Robby's behavior suggests he doesn't still have his favorites, like Victoria, who's just as distracted as Samira by her attending surgeon mom's expectations, but hardly faces any of the same criticism. This despite Victoria still buckling under pressure, making nervous errors that expose the hypocrisy of Robby's glowing endorsement. His respect for Whitaker's work is more understandable, with "Huckleberry" providing valuable guidance to the med students, most notably a shell shocked Ogilvie, whose hubris eventually results in a crucial mistake.

If the fates are conspiring to prevent Robby from departing on his road trip, he still has selfless moments, like his insistence on treating ornery biker buddy Duke Ekins (Jeff Kober) before leaving. Though this, Wyle adds new dimensions to a character more broken by life and his own perceived shortcomings than anyone suspected. He doesn't resent Langford for stealing drugs, but how he fears it reflects on him. When the two finally do have that long delayed "talk," the remorseful Langford correctly assesses that Robby's in as much need of counseling as he is, before it's too late.

You can't help but wonder what Al-Hashimi expects to hear from Robby when she reveals her medical condition. Surely it can't be reassurance or an encouraging pep talk to get back to work as he leaves his department in the hands of an attending who could have another seizure at any minute. Still, he manages to extend his streak of being totally right while still managing to sound incredibly wrong, throwing  another fit during the most sensitive of circumstances. 

Confiding in the only person she can, it briefly seems as if Al-Hashimi connects with Robby on the human level she intends, at least until he reminds her how she's jeopardizing the safety of patients and staff. But unless Robby clears his head and deals with his issues, he could find himself in a similar boat, unable to effectively perform his duties. With both their futures in doubt, a small glimmer of hope comes in the final scene when Robby finds comfort from an unlikely source, hinting at the possibility he could be going away for a bit after all, whatever form that takes.

Throughout this season, the show's damaged hero slides down a slippery slope, revealing himself to be more fallible and self destructive than he'd ever admit. The series also takes a big swing by presenting him as a ticking time bomb who affects every member of a staff already stretched far past their limits. But even as each shift feels like an endless loop in hell for these physicians, all that really matters is the next life that needs saving.                                                                               

Sentimental Value

Director: Joachim Trier
Starring: Renate Reinsve, Stellan Skarsgård, Inga Ibsdotter Lilleaas, Elle Fanning, Anders Danielsen Lie, Jesper Chistiansen, Lena Endre, Cory Michael Smith, Catherine Cohen, Andreas Stoltenberg Granerud, Øyvind Hesjedal Loven, Lars Väringer, Ida Marianne Vassbotn Klasson 
Running Time: 133 min.
Rating: R

★★★ (out of ★★★★)  

Early in Joachim Trier's Norwegian Oscar winner Sentimental Value, the main character suffers a debilitating bout of stage fright, and judging from the reactions of those closest to her, they've seen this before. Eventually, she'll power through, but with barely a second to spare as the cast and crew anxiously wait on pins and needles. Of course, such panic ridden episodes often have nothing to do with how well an actor knows their lines or skill level, but whatever else is going through their mind at the moment, which usually includes a few nightmarish scenarios related to failure and insecurity. 

While those intrusive thoughts may be fleeting, they're no less paralyzing, and from what we can tell from the protagonist's unusual coping mechanisms, there's a lot more happening underneath. Trier and co-writer Eskil Vogt reveal what as the narrative zigs and zags, hitting occasional lulls before arriving at its inevitable, but still moving conclusion. As a small scale relationship drama about intergenerational trauma, it doesn't exactly break new ground, but the performances and pangs of missed opportunities and regret strongly resonate, echoing through the walls of this family's home.

Respected film director Gustav Borg (Stellan Skarsgård) is in a slump, struggling to get his latest projects financed when he completes a script inspired by his mother Karin, who was tortured by Nazis before eventually committing suicide in their Oslo home when he was a child. It's also the same house his two daughters Nora (Renate Reinsve) and Agnes (Inga Ibsdotter Lilleaas) were raised in by their therapist mom after he left Norway following their divorce. Now as adults, Nora is a successful stage actress having an affair with a colleague while sister Agnes is a married historian raising young son Erik (Øyvind Hesjedal Loven) with her husband.  

When Nora and Agnes's mother dies, Gustav unexpectedly returns to Norway to reclaim the house despite the lingering resentment from his daughters. That's especially true for Nora, who refuses to read Gustav's new script, rejecting the idea of her playing his mother. Disappointed, Gustav instead casts popular American actress Rachel Kemp (Elle Fanning) whose star power helps secure the film a Netflix deal. While seemingly up for this challenge, the role proves more difficult than Rachel envisioned, with Gustav clumsily using the movie as a vehicle to compensate for his own shortcomings as a father. But when actually faced with taking responsibility and connecting with both his daughters, he risks losing them for good. 

Jumping back and forth through time between the sisters' childhood, Gustav's and the present day, the house takes on a life of its own, becoming as much a character as its occupants, mainly due to all the memories forged inside. This isn't lost on Gustav, whose big plans involve filming there with Nora as his lead. But we can tell the very thought of working alongside him disgusts her, as she doubts he'll be able to effectively communicate any better on set than in real life. 

Nora sees right through Gustav's intentions, which involve casting her to make up for years of  abandonment, alcohol abuse and emotional inaccessibility. And if even her mother's recent death can't bring them any closer, nothing will, much less a vanity project at the end of a career he prioritized over them. 

While Nora's understandably hard headed about reaching a compromise, Agnes implores her to at least keep an open mind, even if Gustav does himself a disservice by bombarding Nora with backhanded compliments about how her talent's wasted on the stage. Having starred in her father's most acclaimed film as a young girl, Agnes can relate, despite seemingly emerging from their tumultuous past better adjusted than her sister, though not without some lingering scars.

Gutav's determination to get his film made with or without Nora leads him to cast Rachel, the young ingenue impressed by his work and looking to prove herself. But she's also all wrong for a role written for someone else and one of the plot's best aspects is how Gustav refuses to see that, supporting and nurturing Rachel in a way he never did his daughters. Unfortunately, he won't be able to repair the real relationship with someone else playing pretend for him, no matter how good an actress she is or isn't. 

Fanning has a tricky job in that she's called upon to have Rachel recognize the misguided futility of Gustav's experiment. It's also very meta in the sense that she's heavily pulling from experiences performers have when stuck in parts they feel ill suited for, digging deep and pulling at every thread to make it work. She's scared to death of screwing up, which could be viewed as mirroring Nora's stage fright, though in a slightly different context.  

Thes rehearsal scenes are among the film's best as we watch Gustav guide Rachel through a process that just isn't clicking, but not from a lack of effort. Whether Rachel's even talented is irrelevant since the film's more interested in giving her credit for recognizing what Gustav can't, or doesn't want to. She knows who should really be playing this part.                          

Skarsgård and Reinsve hold this together as we wait to see if the internally troubled Gustav has an epiphany or Nora lets her guard down long enough to realize his movie's an apology, if not also a cry for help. And while the remarkable Reinsve unquestionably carries this, Lilleas's slowly evolving turn as Agnes gradually sneaks up on you, with Skarsgård delivering subtle, understated work as his character struggles to make headway with his daughters. 

Both sisters carry decades worth of familial dysfunction, but one clearly feels the brunt, especially when her father's recent return reinforces just how raw a deal she got. But at the story's crux are complicated emotions and a shared history that somberly bubbles to the surface in its closing minutes, quietly subverting expectations right up until the final reveal.

Five Nights at Freddy's 2

Director: Emma Tammi
Starring: Josh Hutcherson, Elizabeth Lail, Piper Rubio, Freddy Carter, Theodus Crane, Wayne Knight, Mckenna Grace, Teo Briones, Skeet Ulrich, Matthew Lillard, Miriam Spumpkin, Audrey Lynn Marie, Megan Fox, Kellen Goff, Matthew Patrick, David Andrew Calvillo, Grant Feely
Running Time: 104 min.
Rating: PG-13

★★★ (out of ★★★★)   

When the heavily anticipated adaptation of Scott Cawthon's popular video game series, Five Nights at Freddy's hit theaters in 2023, critics and audiences were noticeably split. While the former group seemed appalled they had to sit through PG-13 horror centered around killer animatronic animals, the franchise's fans responded far more favorably, aware of what they'd be getting. If anything, director Emma Tammi incorporated enough elements from the game to please hardcores without alienating mainstream audiences completely unfamiliar with the property, but hooked by its strange premise. 

If the first film was enjoyably flawed and crazy, it shouldn't have come as a total surprise given the nature of this material. But aside from the robotic creatures and an inspired setting, one of its better qualities came in knowing that an 'R' rating wouldn't have necessarily made a difference. Nothing felt cut or excised for commercial-friendly concerns as Tammi delivered an engaging adventure just gory enough to match the story. So you could say it's good news she's back to helm this inevitable sequel, which delivers much of the same, only bigger and messier.   

It's 2002 and two years since Mike (Josh Hutcherson), his little sister Abby (Piper Rubio) and police officer Vanessa Shelly (Elizabeth Lail) survived their showdown with Vanessa's dad and child murderer William Afton (Matthew Lillard) at the abandoned Freddy Fazbear's Pizza restaurant. Since being killed by the spirits of his victims, the legend of Afton's murders has only grown, drawing greater attention to the case and spawning a town horror festival called "Fazfest." But as a now 11-year-old Abby experiences newfound popularity at school, she still mourns the loss of her electronic animal pals Freddy, Chica and Bonnie. 

Giving Abby false hope he'll eventually repair the robots, Mike urges everyone to put what happened behind them, including Vanessa, who continues to emotionally struggle from the impact of her father's crimes. But while Abby secretly returns to the restaurant despite her brother's warnings, a group of ghost hunters arrive at a different nearby Fazbear's location where a little girl named Charlotte Emily (Audrey Lynn Marie) was shockingly murdered in 1982. And when the crew's presence awakens her spirit, the truth about how she's connected to Vanessa comes to light, putting her and Mike in a race against time to save a manipulated Abby, whose resurrected robot friends are ready for another rampage.

The film's opening sequence might be its best, flashing back to a packed, fully operational Freddy Fazbear's during a birthday party decades earlier, revealing what the franchise restaurant looked and felt like in its heyday. After initially assuming this is the now abandoned building Mike worked in as a security guard, we soon realize it's a different location, with atmosphere and attractions unique to that flagship eatery, like the Marionette, a terrifying animatronic conducting the robot animals on stage. 

Baring more than a passing resemblance to Saw's Billy the Puppet, the Marionette is a major presence when young Charlotte is slain despite all her warnings to the restaurant's oblivious, self-absorbed parents. And Vanessa's childhood friendship with this ostracized girl ends up being one of many important details she neglects mentioning to a frustrated Mike as the pair reluctantly start dating. 

Vanessa's selective secrecy, Abby's desire to reunite with Freddy and the gang despite previous events and the use of wireless technology in '82 are hurdles Cawthorne's script must clear, but instead conveniently glazes over at times. Thankfully the ghost hunting "Spectral Scoopers" (played by Mckenna Grace, Teo Briones and David Andrew Calvillo ) do serve a larger purpose while Freddy Carver's brief but creepy turn as a Norman Bates-like security guard proves a highlight. 

Seinfeld and Jurassic Park star Wayne Knight gives the film's most wildly entertaining performance as Abby's condescendingly cruel science teacher Mr. Berg. And the ubiquitous character actor hasn't lost a step, chewing scenery as a jerk authority figure that could have stepped out of an 80's comedy. More than anyone, Knight knows exactly what kind of movie he's in as we wait anxiously to see this sniveling coward get his when Abby proudly unveils her unusual robotics project. 

It's no surprise when Freddy and his friends are again on the loose, but with a soul possessing component that changes the game, giving Elizabeth Lail more interesting places to go with Vanessa. But while she still reels from PTSD stemming from her psychopathic dad, Hutcherson's Mike is fed up, burying the pain and wanting everyone to follow suit, even if he's just barely holding on. And Rubio continues to shine as the precocious Abby, whose loyalty to Chica leads to trouble.  

Playing on a similar technical and visual playing ground as its predecessor, the secondary Fazbear's location actually surpasses that with its hidden passages, trap doors and waterways. Those who hated the first film will probably still despise this, but for everyone else, it's equally fun, giving us an expanded look at the nostalgically cursed Chuck E. Cheese inspired restaurant of the film's title. With allusions to ME3GAN, The Exorcist and Saw, it may incorporate a few more influences, but remains heavily indebted to the video games that spawned it, ensuring more sequels where this came from. 

Rental Family

Director: Hikari
Starring: Brendan Fraser, Takehiro Hira, Mari Yamamoto, Shannon Mahina Gorman, Akira Emoto, Kimura Bun, Sei Matobu, Misato Morita, Tamae Ando
Running Time: 110 min.
Rating: PG-13

★★★ ½ (out of ★★★★)   

Rental Family features a fascinating premise that takes a bit to come completely into view, but once it does, the film starts asking the same questions we do, with surprising answers. It also provides further proof that the Brendan Fraser comeback is still in full effect, with the actor tackling exactly the type of role we hoped he would post-Oscar win. His likability and charisma makes him the ideal foil for an unusual concept that's even easier to envision as a series with a creative lifespan longer than this picture's designated run time.  

If there's a complaint you could level, it's that there's no way to explore every moral and philosophical consequence of the title service, which does actually exist. But director/co-writer Hikari nearly covers all those bases with characters aren't who they say or think they are, creating their own distorted realities in a misguided attempt to protect those closest to them. And by facilitating lies that cause more harm than the truth ever could, the profiting company proves how the road to hell can really be paved with good intentions. We cringe as manipulative machinations meant to provide comfort cross a line our good natured protagonist grows increasingly uncomfortable with.   

Struggling American actor Phillip Vanderploeg (Fraser) is looking for work while living in Tokyo, where he's resided since starring in a popular toothpaste commercial seven years earlier. Taking thankless roles as he waits for a bigger break, he's approached by Shinji (Takehiro Hira), who owns "Rental Family," a company that hires actors to play stand-in family members and friends for prospective clients. In Phillip, Shinji sees a white American capable of filling a specific niche, and however uneasy the unsuspecting applicant feels about the gig, it's still money.

After a rough first assignment, Phillip's next hired to act as the estranged father of young, half-Japanese girl Mia (Shannon Mahina Gorman), whose single mother Hitomi (Shino Shinozaki) needs him to get her enrolled in a prestigious private school. He'll also split his time as a journalist profiling Kikuo Hasegawa (Akira Emoto), a retired actor with dementia whose daughter Masami (Sei Matobu) wants him interviewed before he completely loses his memory. As Philip forges a bond with each, he realizes how a thin a line he's walking with their emotions, while also recognizing there's a lot left to understand about a culture he already assumed to know. But ultimately, they'll have just as much to learn from him.

Just the thought of a film centered around an American actor doing commercials in Japan immediately invokes comparisons to Bill Murray's character in 2003's Lost in Translation. But the difference is that starring in these ads isn't quite the punchline it was then, with many respected, big name actors now taking these jobs as a side hustle to bank supplemental earnings. Only Phillip isn't one of them, as we quickly get the impression that's his primary source of income and opportunities are drying up, causing shame and frustration.  

Similar to Murray, but less cranky, Fraser excels at conveying that sense of depressive dislocation that takes hold when you're living in another country, or even just in different surroundings. And he does it by subtly projecting in Phillip the awkward look and feel of someone who arrived the previous day rather than seven years ago. So it's easy to see how this unusual job offer would pique his curiosity, allowing him to perform and connect with people who just want to be seen. 

Early on, Rental Family employee Aiko (Mari Yamamoto) shares with Phillip why she does this, rationalizing that it fills an important void for sad, desperate clients while allowing the performers to feel needed in return. On the surface it almost makes sense, but those words will come back to bite her and company owner Shinji, who's living a lie of his own, until the bottom falls out, with damage far exceeding both their pay grades. And much of that is due to Phillip, who's justifiably unable to separate himself from these extremely personal assignments. 

Optimistically hoping to make a difference and for these clients to appreciate him in return, Phillip gets the hang of it when playing groom to a closeted lesbian with traditional, controlling parents who's looking to secretly run away with her wife. But the company's real purpose, aside from making money, comes in enabling people to circumvent tough, necessary decisions by introducing giant lies that bury their problems. And it's only when the facade comes tumbling down that Hikari and co-writer Stephen Blahut's script can fully explore the messy truth. 

While the film's trailers and commercials imply that everything revolves around Phillip's relationship with young Mia, what's most remarkable is how Fraser and a precociously superb Gorman convey their naturalistic father-daughter dynamic with far fewer scenes together than expected. And yet there's this real arc that develops as Mia slowly warms up to the idea her "biological father" may be sticking around this time. 

By hiring Phillip to give Mia some semblance of an adult male figure in her life, the mom's clearly playing with fire. Even worse, he'll inevitably be blamed for whatever goes wrong, even when doing exactly what he's hired for. But the bigger issue is what becomes of Mia once he leaves or if she somehow finds out the truth. It's one thing pulling the wool over unsuspecting adult eyes, but toying with a child's emotions enters unconscionable territory, regardless of intent. 

An equally serious set of challenges accompany Phillip's friendship with the elderly Kikuo, most of which involve boundaries related to his health and care. It's another delicate issue this flawed company can't navigate, with the heat again falling on the one person too empathetic to treat this as a mere performance. At first, we're left guessing how this secondary sub-plot ties into the A-storyline, wondering if the film's time would be better spent focusing exclusively on Phillip's bond with Mia. But we're proven wrong as a moving sacrifice involving Kikuo becomes major catalyst for what occurs in the final act.  

The ending is notable for its restraint, as both Rental Family's clients and employees must come to the realization that this system is delivering the polar opposite of what's promised, hurting nearly everyone in the process. They may not know how absurd their behavior is, but the film does, culminating in a moving catharsis full of surprisingly logical twists that reveal both the best and worst in humanity. That Hikari accomplishes this without pouring on the schmaltz can be attributed to her deft touch, but also Fraser's earnestness, which has rarely served him better.