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You (2018–2024)

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Anyone but you.

Common Sense Says
Parents Say 19 Reviews
Kids Say 27 Reviews

Common Sense Media Review

"Sexy Shakespeare" adaptation has nudity, sex, pot, cursing.

Parents Need to Know

Why Age 16+?

Steamy sex scene with blurry nudity. Plot is centered on romance. Kissing. Women

Strong language throughout, including "ass," "a--hole," "bitch," "bugger off," "

Characters smoke pot and drink, including at a wedding. Reference to doing cocai

Land Rovers are featured, indicating likely product placement.

A slap. Characters are briefly in peril on a few occasions, but problems are qui

Any Positive Content?

Love is too precious a thing to waste, or to waste time not recognizing.

While the plot revolves around the wedding of an aspirational lesbian couple --

No one really rises to being a role model, but there are a lot of well-meaning f

Sex, Romance & Nudity

Steamy sex scene with blurry nudity. Plot is centered on romance. Kissing. Women are shown topless in a couple of scenes, and most of the rest of the time, they wear snug/wet clothes that show their cleavage, abdomen, and rear ends. On several occasions, men are fully nude, covering their genitals -- except in one scene, where the tip of a penis is briefly shown to get a laugh. Innocent situation where it looks like a couple is having sex, but they're not. Flirty interactions, including one character sitting on another's lap, which leads to showing them waking up together, fully clothed.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Strong language throughout, including "ass," "a--hole," "bitch," "bugger off," "goddammit," s--t," "snog," and frequent use of "f--k."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Characters smoke pot and drink, including at a wedding. Reference to doing cocaine.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Products & Purchases

Violence & scariness.

A slap. Characters are briefly in peril on a few occasions, but problems are quickly solved, and viewers are unlikely to worry about their safety.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Positive Messages

Diverse representations.

While the plot revolves around the wedding of an aspirational lesbian couple -- who are depicted just like any other movie couple planning a wedding (bickering, kissing, annoyed with each other, etc.) -- the story's primary romance is between heterosexual characters, both of whom are White, blonde, and tan. They (and pretty much everyone in the film) are conventionally attractive. Friends and family members of the romantic leads are Black and AAPI.

Did we miss something on diversity? Suggest an update.

Positive Role Models

No one really rises to being a role model, but there are a lot of well-meaning family and friends.

Parents need to know that Anyone But You is director Will Gluck 's modernized adaptation of Shakespeare's Much Ado About Nothing. Starring Sydney Sweeney , Glen Powell , and Alexandra Shipp , this racy take on the "boy gets girl, boy loses girl, boy gets girl" formula is aimed squarely at 20-somethings, though it may well appeal to teens, too. The movie seems mostly to exist to show off the cast's sculpted assets: Expect to see a lot of skin here (including bare breasts and the tip of a penis), sometimes in a sexual context, sometimes not. Even when clothes are worn, there's not a lot to them -- including the most ridiculously microscopic bikini top ever made. And, yep, to ensure that viewers understand that the film's one sex scene is steamy, it starts in a shower. Characters drink and smoke pot, and there's a reference to cocaine use. Strong language throughout includes quite a few uses of "bitch" and a whole lot of "f--k," as well as "s--t," "goddammit," and more. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Parent and Kid Reviews

Parents say (19)
Kids say (27)

Based on 19 parent reviews

Not for kids/teens. Beware!

Much ado about nothing with lowest common denominator humor, what's the story.

In ANYONE BUT YOU, Bea ( Sydney Sweeney ) and Ben ( Glen Powell ) have moved on since their promising one-night stand ended badly. But when Bea's sister, Halle ( Hadley Robinson ), and Ben's best friend's sister, Claudia ( Alexandra Shipp ), plan their destination wedding in Australia, the two grit their teeth and agree to get through the festivities with as little awkwardness and resentment as possible. But when Bea and Ben discover that their exes ( Darren Barnet , Charlee Fraser) are also attending the celebration, they make a pact to make their animosity look like amore to spurn one and attract the other.

Is It Any Good?

Comical, modernized Shakespeare adaptations are a clever way to introduce youth to the Bard, but "sexy Shakespeare" may leave parents as cold as Powell's naked behind on a July day in Australia. Inspired by Much Ado About Nothing 's B-plot, the bickering Beatrice and Benedick -- who, in the original play, are tricked into falling for each other by Elizabethan-era lovers Claudio and Hero -- here become Bea (Sweeney) and Ben (Powell), with the tricksters reimagined as Claudia (Shipp) and Halle (Hadley Robinson).

Writer-director Gluck is no stranger to adapting classics to appeal to a youthful crowd: He first had a hit when he turned required-reading staple The Scarlet Letter into high school comedy Easy A . But bringing any levity and relatability to a puritanical Nathaniel Hawthorne novel is likely to be seen as a win by teens. Much Ado , on the other hand, is already considered a great comedy from one of history's greatest playwrights. So the bar is set high, and while Anyone But You is amusing, Gluck doesn't quite clear the hurdle. Bea and Ben are funny, but they're also self-absorbed jerks who conspire to break up one couple and embarrass Bea's good-guy ex. Who exactly are we rooting for here? But thanks to the casting of appealing actors, the presence of Natasha Bedingfield's "Unwritten" throughout the film, and the characters' new-adult-accurate dialogue (note: add "hot girl fit" to your lingo, and remove "cringe"), Gluck's end result is diverting enough that teens and young adults are highly unlikely to notice its flaws.

Talk to Your Kids About ...

Families can talk about the meaning of the phrase "a thin line between love and hate." How is it relevant to Anyone But You ?

Did watching this movie inspire you to learn more about its source material, William Shakespeare's comedy Much Ado About Nothing ? What are the similarities and differences? What's the advantage of putting a modern-day spin on classic literature? Teens: What are you reading in school that you'd like to see as a movie?

Is drug use glamorized here? Are there realistic consequences? Why does that matter?

The main characters are Ben and Bea, but, considering their plot, are they the protagonists or antagonists? Can the same characters be both?

Movie Details

In theaters : December 22, 2023
On DVD or streaming : February 20, 2024
Cast : Sydney Sweeney , Glen Powell , Dermot Mulroney
Director : Will Gluck
Inclusion Information : Female actors, Female writers
Studio : Sony Pictures
Genre : Romance
Topics : Brothers and Sisters
Run time : 103 minutes
MPAA rating : R
MPAA explanation : language throughout, sexual content and brief graphic nudity
Last updated : August 7, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

Suggest an Update

What to watch next.

Much Ado About Nothing

10 Things I Hate About You

West Side Story (2021)

She's the Man

Romeo + Juliet

Movies based on books, romantic comedies, related topics.

Brothers and Sisters

Want suggestions based on your streaming services? Get personalized recommendations

Common Sense Media's unbiased ratings are created by expert reviewers and aren't influenced by the product's creators or by any of our funders, affiliates, or partners.

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‘You People’ Review: Guess Who’s Going to Roscoe’s

Jonah Hill and Eddie Murphy are among the stars in this prickly-charming generational Netflix comedy, the feature directing debut of Kenya Barris.

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In a living room, two sets of parents flank an engaged couple. The parents are in conversation with each other.

By Lisa Kennedy

When Ezra hops in the back seat of Amira’s Mini Cooper, sparks fly. Played with savvy charm by Lauren London, the budding costume designer furiously calls out Jonah Hill’s unhappy broker and fledgling podcaster for his assumption that she, a Black woman, is his rideshare pickup. But their exchange goes from prickly to something warmer and at times winning — which is an apt description of this interracial, interfaith, bigotry-teasing comedy, directed by Kenya Barris and written by Hill and Barris.

More than his Wu-Tang Clan tees and her Gucci slides, hip-hop culture is their lingua franca.

And these kids are all right-ish, to borrow a suffix Barris made popular with his TV shows “black-ish” and “grown-ish.” Much like the parents who met in “Guess Who’s Coming to Dinner” more than 50 years ago, it’s the elders who prove to be the problem. Julia Louis-Dreyfus and David Duchovny play Shelley and Arnold Cohen of Brentwood; Eddie Murphy and Nia Long are Amira’s pessimistic-at-best parents, Akbar and Fatima Mohammed, of Baldwin Hills.

While Duchovny and Long aren’t silent partners here, it’s the former “S.N.L.” castmates Murphy and Louis-Dreyfus who whet the comedy as their characters are poised to scuttle Ezra and Amira’s plans to wed. Shelley by being so effusive in her clumsy embrace of Amira that she becomes exhaustingly offensive. The disapproving Akbar by trying to reveal Ezra as a white opportunist.

Hill’s Ezra is, in fact, a fool of sorts. Mo, his cocky partner in podcasting (played by the dynamic comic Sam Jay) tries to keep him real. But Ezra lies to please. He tries too hard. He refers to Malcolm X as “the G.O.AT.” during his first meeting with Amira’s parents at a Roscoe’s Chicken & Waffles (his idea). He wants to be edgy and lovable. And Hill, wearing blond-streaked hair and a lit smile, carries that yearning throughout the film.

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In ‘You’ Part 2, Everyone’s Favorite Anti-Hero Comes Home

By CT Jones

By this point, it’s pretty clear Joe Goldberg is the problem .

You , Netflix ’s beloved murder-comedy staple , follows a simple pattern for viewers to latch on to. Joe ( Penn Badgley ) is an angst-ridden killer who just can’t stop meeting women and then stalking, trapping, and eventually murdering them. But he’s hot, so not only does he get away, but the end of each season has seen him successfully survive and remerge in another unsuspecting community ripe for the taking.

By all accounts, You should be a flop. The show is light on plot and more a mishmash of warring desires and character studies in narcissism. But it gives its actors the freedom to nail their performances, a recipe that has usually worked in its favor. As a show that was canceled over lack of viewership on Lifetime, it’s a testament to Badgley’s commitment to the bit and showrunner Sera Gamble’s inventiveness that the series has so deftly maneuvered itself from a creepy action show to a camp drama classic. But in the modern age of television, a sexy lead and an ever increasing body count still isn’t enough to keep eyes glued to the screen.

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The end of the season takes cheeky aim at Joe’s tendency to land on his feet, planting the killer in a familiar locale — this time with limitless opportunities. But there’s only so many times the series can retrace its steps. While Season Four of You manages to stick its bingeable landing, it’s easy to notice that Badgley seems weary of his role. And while the energy served him well this time, another year with Joe Goldberg might be a step too far. Netflix has yet to announce a series renewal for You, an interesting development for one of its most successful shows. But that’s not necessarily a bad thing. The lack of a Season Five wouldn’t be an indictment, but a celebration of a show that succeeded from nothing, and knew when it was time to hang up the knife.

In the wise words of Taylor Swift: it must be exhausting always rooting for the anti-hero.

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Entertainment
The <i>Brutalist</i>—At Least, Half of It—Is as Exhilarating as Any Movie You’ll See This Year

The Brutalist —At Least, Half of It—Is as Exhilarating as Any Movie You’ll See This Year

W hat separates a genius from the rest of us schmoes? That’s the question Brady Corbet—a prolific actor who’s gradually building a career as an inventive, out-there director—mines in The Brutalist, the story of a fictional mid-20th-century architect who, though acclaimed in his homeland of Hungary, finds himself scrambling to rebuild his life in the country he feels fortunate to have escaped to, the United States. Adrien Brody plays László Tóth, who has survived imprisonment in Buchenwald and made the tumultuous passage to New York: we get a point-of-view shot that captures what it might have been like to disembark from a crowded steamer and see the Statue of Liberty all topsy-turvy and sideways before you. She looks great, like someone who’s actually happy to see you. László will soon find out just how unwelcome he really is, though by staying true to his outsized vision, he will eventually achieve outsized fame—and it will take a runtime of three hours and change (with a 15-minute intermission in between) to lay all of this out.

The Brutalist, playing in competition here at the Venice Film Festival , is almost nuttily ambitious. In his third feature as director, Corbet does nothing by half measures, which doesn’t mean everything he tries is 100 percent successful. The Brutalist is half a great film: the hefty chunk of movie leading up to that intermission is as exhilarating as anything you’re likely to see this year—there’s a Rite of Spring brashness to it. But in the second half, its bold, angular lines soften into something more oblique and conventional, even though some of the plot elements are quite harrowing. It’s as if Corbet, along with his regular co-writer Mona Fastvold, used all their best ideas in their master-builder climb to the top, without figuring out how they might climb down.

But we live in an age when it’s hard enough to make even half a great film. And no matter how you cut it, The Brutalist is a spectacle, the sort of movie that can turn an afternoon into an event. Corbet divides the story into three sections, plus an epilogue, beginning in 1947 and winding up in 1980, at that year’s Venice Biennale, the first devoted to architecture. The film opens with that suitably jarring, shaky-cam arrival at Ellis Island. This is where we get our initial glimpse of Brody’s László, disembarking with a friend; their first order of business is to relieve some sexual tension. As a winsome beauty goes to work on László, she asks him why her ministrations aren’t doing the trick. “It’s the space above your brow that’s a problem,” he says, looking down at her upturned face. “There’s something I don’t like.”

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It's a cruel thing to say, but it’s also quintessential architect-speak. These are people with firm ideas about what they like and don’t like—aesthetic choices are their lifeblood. But for László, there’s something else: he and his wife, Erzsébet, were forcibly separated and sent to different camps during the war. She’s trapped in Austria—along with the couple’s niece, Zsofia, who has some health problems that demand special attention—but László doesn’t yet know that they’re still alive. When he finally reaches Pennsylvania, where he's reunited with a cousin, Attila (Alessandro Nivola), he learns that both are alive. His relief breaks through in a flood of tears; Brody makes you feel both their heat and their restorative coolness. He's wonderful in this role.

Attila and his Connecticut blonde wife (Emma Laird) run a custom furniture business; their specialty is ugly brown wood stuff. Attila gives László an empty storeroom to sleep in, and allows him to help with the business, though László’s pride prevents him from accepting more than that. In line at a soup kitchen, he meets a single father, Gordon (Isaach De Bankolé); the two will form a long-lasting bond. This is how Corbet inches forward with László’s story, which really kicks into gear when he and Attila accept a quickie commission from a rich skinflint, Joe Alwyn’s Harry Lee Van Buren. Harry wants to surprise his millionaire father with a refurbished library. Can they do it in a week? László takes charge, taking a stuffy old space and creating a glorious, half-moon shaped reading refuge with adjustable sliding bookshelves and, in the center, a single, swoonworthy chrome-and-leather lounge chair reminiscent of Le Corbusier. The future has arrived.

Then papa bear Harrison Lee Van Buren (Guy Pearce, in a fine, flinty performance) arrives home early. He hates this surprise, and blasts László and Atilla with his anger; young Harry refuses to pay them. Attila sends László off on his own, telling him he must fend for himself. Fast-forward a few months: it turns out Harrison's futuristic reading room has been featured in LOOK magazine, marking him as a man of taste and vision. He digs around and learns that László was a very big deal back in Hungary; in his eyes, that further burnishes László's star. He finds László, who's toiling away nobly at menial construction jobs, and offers him the chance of a lifetime: the opportunity to design and build a community center in honor of Harrison’s late mother, to whom he was devoted. The building, to be the pride of Doylestown, Pa., must contain a library, a gymnasium, an auditorium, and a chapel. László fulfills this impossible mission by designing a spare, elegant edifice that can do it all.

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That’s barely the beginning of The Brutalist. The story that follows doesn’t just map László’s rise, fall, and eventual re-ascent: it’s a thumbnail history of the last half of the 20th century, a meditation on the realities of being an outsider and a Jew in postwar America , a detailed treatise on the way rich people can sometimes giveth, though in the end they’re much more likely to take away—and we’re not just talking about money. The Bauhaus-trained László is so ahead of the curve, he’s almost out of sight. That’s what makes people hate him, and even fear him. The Brutalist strives to explore the best and worst of human behavior, and just about every gradation in between.

Erzsébet ( Felicity Jones ) and Zsofia (Raffey Cassidy) eventually make it to New York, and though László has long dreamed of reuniting with them, their arrival demands that he shift his thinking. It also cramps his style: he seems to care, at times, only for creating monuments to himself. But he’s also hardworking and principled. At one point, Harrison fawns over him by asking, “Why architecture?” László doesn’t have an easy answer, but rather one that branches out like the veining in a fine slab of marble. His work had been deemed “un-Germanic” by the Reich; now, he wants his buildings to stand tall and spark protests, so that humans may strive to effect change. But on a more intimate scale, he suffers: he’s an on-again, off-again junkie, having gotten hooked in order to relieve the pain caused by injuries he sustained during the war.

The first half of The Brutalist is so dramatically robust that you almost can’t wait to see where it’s headed. Corbet and his cinematographer Lol Crawley love big-picture shorthand and skewed camera angles that probably shouldn’t work but somehow do. Instead of showing us a train headed for a crash, they build a sense of dread by sending the camera zipping along a set of train tracks, followed by a magnificent overhead shot of a plume of normal engine smoke erupting into a fireball explosion. Daniel Blumberg’s music is just as evocative, both exhilarating and unmooring at once: he goes for chunky symphonic shards of sound, building and releasing tension with, say, a flutter of woodwinds or plucked strings. (Corbet has dedicated the film to the late singer-songwriter and record producer Scott Walker, who composed the monumentally far-out scores for Corbet’s previous films, the extraordinary fascist-in-training drama Childhood of a Leader and the uneven but imaginative pop-star parable Vox Lux. )

The Brutalist does demand some patience, as well as a good chunk of your time. And it really starts to wobble near its wrap-up, using a single event—admittedly a traumatic one—to explain why László has suddenly become an obsessive tyrant, rather than just a demanding perfectionist. We don’t see him reveal his secret torment; that apparently happens during an especially tender moment with Erzsébet. The movie feels as if it’s in a rush to finish, and by that point, your patience might be running out, too.

Yet we need filmmakers like Corbet, who thinks in big visual loops rather than tiny shapes designed to fit neatly on a laptop screen or the back of an airplane seat. The Brutalist was shot with VistaVision cameras and projected here in Venice in glorious 70mm format. Not everyone—in fact, very few—will be able to see it that way. But if we can’t dream big, why bother at all? The Brutalist is a kind of crazy space church, designed specifically for the communal moviegoing experience. It's a place to gather and give thanks.

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10 best movies to watch if you miss shogun.

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This $100M Sci-Fi Thriller That's Streaming On Netflix Is Perfect To Watch If You Miss Shogun

Shogun already faces the 1 problem that killed game of thrones, but i'm not worried, how shogun's story can continue in seasons 2 & 3 (based on real life history).

Shōgun was one of the best new series of 2024, so good that Disney and FX extended its original run as a limited series and currently has at least two more seasons in development. Released back in February 2024, Shōgun follows the improbable story of one man's cunning and tactful rise to become shōgun, the supreme military ruler in feudal Japan. The series is based on the real-life establishment of the Tokugawa shogunate , established by Tokugawa Ieyasu in the year 1600. Many Shōgun characters, such as Cosmo Jarvis's John Blackthorne , were inspired by real-life historical figures and timelines.

Shōgun was previously adapted into a limited series back in 1980. Like the 2024 critically acclaimed series, 1980's Shōgun received outstanding reviews and was widely considered one of the best series of the year in which it was released. 1980's Shōgun went on to win a total of 3 Emmys in 1981 after receiving an impressive 14 nominations, including Outstanding Costume Design for a Series, Outstanding Graphic Design and Title Sequences, and Outstanding Limited Series. More than four decades later, Shōgun leads the 2024 Emmy Awards with a remarkable 25 nominations for its first season .

With Shōgun season 2 still many months away, fans still have quite a while until they get to see how Lord Toranaga's rise to power continues to play out. While some characters will certainly not be returning due to their deaths in season 1, both Toranaga and Blackthorne will likely continue their unlikely alliance as Toranaga faces opposition from the Mother of the Heir, Ochiba-no-kata. No official timeline has been confirmed for Shōgun season 2, Toranaga actor Hiroyuki Sanada has publicly said " there will be new characters coming in, and we’re going to basically follow the real history in seasons two and three ." Until that day comes, there are several movies with similar themes and settings as Shōgun to check out.

10 Seven Samurai (1954)

Directed by akira kurosawa.

Seven Samurai is often considered one of the greatest movies ever made and a visual & narrative masterpiece. Not only should it be seen by all movie lovers, but it is a great and classic option for fans of the 2024 Shōgun series as well. Both Shōgun and Seven Samurai share a similar scale and degree of immersion that makes them both exceptional in their own right. Seven Samurai takes place in the sixteenth century in Japan, not far from the events of the Shōgun series. The film follows a group of farmers from a small village who hire veteran samurai to protect them from bandits. Seven Samurai is currently available to stream on Max .

9 Dune: Part Two (2024)

Directed by denis villeneuve.

Dune: Part Two may be set in a completely different genre as Shōgun but both celebrated 2024 projects share themes of power struggles, betrayal, and cunning strategy. They also are both made with a sense of epic scale, making them two of the most immersive and largest fictional worlds brought to the screen in 2024. The core narrative of how Timothée Chalamet's Paul Atrides rises to the rank of Emperor in Dune: Part Two is similar to Lord Toranaga's chesslike strategy to become shōgun by the first season's end. Both Dune: Part Two and Shōgun follow the steep ascension process of their protagonists and leave audiences somewhat questioning their motives despite being the heroes in their respective stories.

8 Silence (2016)

Directed by martin scorsese.

Silence is an excellent and underrated film by legendary filmmaker Martin Scorsese. Silence takes place during the 17th century in Japan and follows two Portuguese Jesuit priests, played by Adam Driver and Andrew Garfield, who go on a religious crusade to rescue their Catholic mentor who has gone missing. The film is seen through the eyes of the Portuguese Christian priests who are similar to the Father Martin Alvito and Father Dell'Aqua characters portrayed in Shōgun. Silence takes a more gruesome look at the extreme levels of religious persecution and sacrifice of the era and is one of the great modern examples of feudal Japan as depicted in a film. The 2016 film received a Certified Fresh Rotten Tomatoes critic score of 83%.

Hiroyuki-Sanada-as-Yoshii-Toranaga-from-Shogun

Fans of Shogun will enjoy seeing Hiroyuki Sanada in an underrated space sci-fi horror movie from 2017 along with three other A-list talents.

7 Mortal Kombat (2021)

Directed by simon mcquoid.

Before appearing onscreen together in Shōgun as Lord Toranaga and his disloyal daimyo Yabushige, Hiroyuki Sanada and Tadanobu Asano previously worked together on the 2021 film adaptation of Mortal Kombat . Both Sanada and Asano will reprise their roles as Scorpion and Lord Raiden in Mortal Kombat 2 , which does not currently have an established release date but could arrive sometime in 2025. For fans of Shōgun who specifically miss the hot and cold connection between Yabushige and Toranaga, Mortal Kombat may be worth checking out for the fact that they appear onscreen together in the same film. Mortal Kombat is based on the popular fighting video game of the same name and received a Rotten Tomatoes audience score of 86%.

6 The Northman (2022)

Directed by robert eggers.

The Northman is one of the most gruesome and visceral action movies in recent years, one area which Disney/FX's Shōgun did not dive too deeply into. The Northman shares many similar narrative themes to Shōgun as Alexander Skarsgård's protagonist goes on a full-throttle decade-spanning path for vengeance after his father, a king, is betrayed and murdered for his crown. Once Skarsgård's Amleth grows up, he comes up with a vicious and violent scheme to avenge his father's death and take back the throne that was taken from him, which is not too far from Lord Toranaga's motivations and character trajectory in Shōgun. Directed by one of the best horror directors of our time, Robert Eggers, The Northman is an epic tale on the same level of prestige as Shōgun.

5 The Last Samurai (2003)

Directed by edward zwick.

The Last Samurai has been coming up in Google searches for "best samurai movies" since its 2003 release, with good reason. Starring Tom Cruise and Ken Watanabe, The Last Samurai isn't just a great movie about samurai culture but one of the best films to come out of the early 2000s, earning four Oscar nominations including Best Supporting Actor for Watanabe. The Last Samurai takes place in 19th century Japan as Nathan Algren, a U.S. army captain, is hired by the Japanese emperor to train his army in modern warfare techniques. Algren finds himself split between two different eras and worlds in this action-packed movie full of battle scenes. Fans of Shōgun who were waiting for Crimson Sky and the Battle of Sekigahara can get their action fix from The Last Samurai .

Lord-Toranaga-from-Shogun-and-Daenerys-Targaryen-from-Game-Of-Thrones-

Shogun season 2 faces some stark challenges without any source material to back it up, but it does have one major advantage over Game of Thrones.

4 The Tragedy of Macbeth (2021)

Directed by joel cohen.

The Tragedy of Macbeth also chronicles the strategic and tragic rise to power of one of Shakespeare's most iconic figures. Joel Coen of the iconic Coen Brothers directing duo ( The Big Lebowski , No Country for Old Men , Fargo ) directed 2021's The Tragedy of Macbeth , a visually stunning interpretation of Shakespeare's tragic play Macbeth . While there have been many renditions of Macbeth over the years, the directorial mastery of Joel Coen makes his The Tragedy of Macbeth one of the very best especially in the area of cinematography. With Shōgun being one of, if not the, most visually stunning series of 2024, fans who appreciated the aesthetics and compositions of the series will certainly find substance in the visual style of The Tragedy of Macbeth.

3 The Twilight Samurai (2002)

Directed by yōji yamada.

For fans of Hiroyuki Sanada specifically, don't miss his performance in 2002's The Twilight Samurai in what is arguably his best role before appearing in Shōgun . While the tone of The Twilight Samurai is very different from Shōgun since it is considered a romantic drama, there are still enough action and suspenseful elements to make it entertaining throughout for fans of the acclaimed 2024 series.

A younger Sanada is featured in The Twilight Samurai as Seibei Iguchi, a low-ranking samurai at the end of the feudal era of Japan . It's incredibly ironic that The Twilight Samurai takes place at the end of feudal Japan with Sanada playing a low-ranking samurai, while Shōgun takes place at the start of the longest shogunate in Japan's history and Sanada plays the most powerful person of that time.

2 13 Assassins (2010)

Directed by takashi miike.

13 Assassins is one of the highest-rated and critically acclaimed samurai movies of the 21st century. The film takes place in feudal Japan in 1844, which is still in the thick of the real-life Tokugawa shogunate. 13 Assassins features a fictional feudal lord named Naritsugu Matsudaira, who is an evil half-brother of the Japanese shogun. In order to prevent his rise to power, a group of thirteen samurai band together to set a trap and end the tyrannical reign of the feudal lord. The film is directed by renowned Japanese filmmaker Takashi Miike and is widely considered to be his masterpiece. 13 Assassins is currently streaming on Hulu .

1 Yojimbo (1961)

Apart from Seven Samura i, Yojimbo is arguably Akiro Kurosawa's greatest film. The film stars Toshirō Mifune, who notably starred as Lord Toranaga in the 1980s version of Shōgun . Yojimbo is a one-person army action epic that follows Mifune's crafty ronin character Sanjuro Kuwabatake who decides to take down both sides of a rival gang in a small Japanese town. Sanjuro has a similar degree of strategy and cunning antics as Toranaga, which makes Yojimbo a thought-provoking and thoroughly compelling watch. Yojimbo is also streaming on Max and is one of the best possible movies to watch while waiting for Shōgun season 2.

Shōgun is guaranteed to have at least 2 more seasons and should continue to chronicle the legendary historical conflicts of Tokugawa Ieyasu.

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Shogun is an FX original mini-series set in 17th Century Japan. Shogun follows John Blackthorne, who becomes a samurai warrior but is unknowingly a pawn in Yoshii Toranaga's plan to become Shogun. The series stars Cosmo Jarvis as John Blackthorne and Hiroyuki Sanada as Yoshii Toranaga, along with Anna Sawai, Tadanobu Asano, and Yûki Kedôin.

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Stream It Or Skip It: ‘You Do You’ On Netflix, A Turkish Rom-Com That’s Also A Revenge Story

Where to stream:, stream it or skip it: ‘lobola man’ on netflix, a breezy, easy rom-com from south africa, stream it or skip it: ‘french girl’ on amazon prime video, an acceptably middling zach braff rom-com, stream it or skip it: ‘find me falling’ on netflix, a tin-eared rom-com about music, lost love and, uh, suicide, these two ‘john tucker must die’ stars have yet to receive a “call” about taking part in the sequel.

How many rom-coms feature a leading man trying to avenge his father’s death by ruining the life of the woman he holds responsible, and then he falls in love with her? Netflix’s You Do You is one of the more intriguing rom-coms we’ve ever seen thanks to it’s revenge plot, and while the tone can sometimes feel a little dark, it ultimately earns its happy ending.

YOU DO YOU : STREAM IT OR SKIP IT?

Opening Shot: The camera pans up the side of a large, old apartment building, the Kültür Apartments, and zooms into the window belonging to a young woman named Merve Kültür (Ahsen Eroğlu). We watch as she gathers up her art supplies and looks for the perfect outfit. She tiptoes to a much larger bedroom, turns and breaks the fourth wall, asking, “Who acts like a burglar in their own home?” before flinging the doors to a much larger closet open and stealing one of her mother’s jackets.

The Gist: Merve is the type of protagonist we’ll call artsy . She’s free-spirited, hates capitalism and, and wants to be a fashion designer. She lives with her mother Nevra (Zuhal Olcay), who would rather Merve get a job in business or finance and be practical, but for Merve, that’s akin to dying a slow death. They live on the top floor of a gorgeous old apartment building owned by Merve’s estranged father, hence his name on the building, and when Merve learns he plans to sell it, she and everyone else in the building panic. Her neighbors are all like family, and they’ve been living there on the cheap for years. Unless someone does something fast, they’re all going to be homeless. They also have no idea who the buyer is, adding an air of mystery to the situation.

Merve, her best friend Nil (Burcu Turunz) and the rest of their friends come up with an idea for an app to make them rich: it’s a dating app called Soulmates that sounds like The Masked Singer meets Love is Blind . Users try to meet their soulmates on video chats while their faces are obscured by animal masks so they get to know people on personality alone. It sounds ridiculous, but they manage to find an investor, a successful businessman named Anil Gurman (Ozan Dolunay) who not only advances them the money to develop the app, but he hires Merve to work for his e-commerce company. But Anil’s motives are shady, he explains to his assistant that he’s only hiring Merve to mess with her (despite the fact that she doesn’t know him), and he gives her increasingly difficult and annoying tasks that are meant to wear her down, but she does them all cheerfully. In fact, she’s kind of thriving despite him, and she starts an Instagram account where she uses the hashtag #YouDoYou to celebrate her style and the fun she has at work and beyond. While she works, Anil watches her on closed-circuit cameras to see how she’s handling his form of torture and he eventually seems to be charmed by her, despite his wanting to destroy her life, for some reason.

Then, Anil joins Soulmates and anonymously starts video chatting Merve to find out more about her. He wears a wolf mask to hide his identity, and she wears a mask that looks like a gazelle. Anil is charming as he gets to know Merve, but it’s very one-sides and he rarely reveals anything about himself. The one strange thing he does reveal to her is when he tells her one night that he wants to “avenge his family.” Huh. Okay. Still, at this point Merve doesn’t know it’s Anil under the mask, and she starts to fall for him. Oh, and what she also doesn’t know, but we do, is that Anil is also the mystery buyer of her apartment building. This man has not only given her a job under false pretenses, but he’s seducing her and stealing her home away from her, all in the name of revenge.

Revenge for what?

Years ago, Merve’s mother Nevra, a former journalist, exposed Anil’s father’s shady business practices and publicly humiliated him, and he died (Was it suicide? It’s never made clear.) And not only that, he was in love with Nevra, just to add a layer to Anil’s anger at Merve’s family. Merve’s father bought the apartment building from Anil’s mother so she could pay her debts after her husband died, and Anil blames his destroyed family and miserable childhood on Merve’s family. So revenge is the only answer. He’s going to buy back the home he lost as a child, and ruin the life of the girl who “stole” his childhood.

What Movies Will It Remind You Of? It sounds weird, but given Anil’s lifelong goal to avenge his family, the movie asks the question, “What if Oldboy was a romantic comedy?”

Our Take: For much of the movie, which maintains a light and charming tone throughout, it’s impossible to know whether You Do You is actually a kind of dark revenge tale that will end horribly or a charming meet-cute. The answer is, it’s both! Up to a point.

For a lot of the movie, Anil seems charming and like he’s truly enamored with Merve, which feels sociopathic given how much he talks about wanting revenge on her. In the same way that Jury Duty felt light and fun most of the time, but some viewers felt queasy about a show based on an extended prank at one person’s expense (despite the good-natured vibe of that show), there are moments in You Do You that feel like Anil’s desire for revenge goes too far, too.

By the end though, Anil… wait for it… goes to China to meditate on what he did, and comes to realize he has lived his life fueled by anger and revenge, which serves no one. So he heads back to Istanbul to profess his love for Merve and return the building he bought back to the tenants who all thought they had to move out. Ultimately, this movie is a meet cute with a happy ending, but, oh, the detours we take to get there!

Sex and Skin: Some kissing but that’s it.

Parting Shot: Merve and Anil walk up the Camondo Steps, the spot where he spied on her, where she took many a selfie to promote her fashion, the place he knows she loves, but this time, they’re ascending the stair as a couple, as they go to check out a photo shoot for her fashion line. Everything’s coming together!

Sleeper Star : Ferot Aktug plays Sehmuz, Merve’s tarot and tea-leaf-reading neighbor who adds some fun laughs to the film.

Most Pilot-y Line: “I wish you were my boss,” Merve tells the “anonymous” soulmate she meets on her app… who actually is her boss, Anil.

Our Call: By the time it was all over, I really liked You Do You . Through the film, there were moments when I was utterly confused because the film painted Anil as a maybe-unstable voyeur for a while there, and it’s no fun to root for that guy in a romantic comedy. But to Ozan Dolunay’s credit, he never paints Anil as purely a one-note creep. In fact, none of the characters come off as caricatures, and that goes a long way toward making this film worth watching. If you want a rom-com that’s very charming but weird but mostly charming, STREAM IT.

Liz Kocan is a pop culture writer living in Massachusetts. Her biggest claim to fame is the time she won on the game show Chain Reaction .

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‘I’m Still Here’ Review: Walter Salles’ Profoundly Moving Sense-Memory Portrait of a Family — and a Nation — Ruptured

The heartbreaking story of Rubens Paiva's 1970 disappearance at the hands of the Brazilian military dictatorship is recounted, with beauty and dignity, through the eyes of the wife and children who lived through it.

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Walter Salles ‘ deeply poignant “I’m Still Here,” the Brazilian director’s return to his homeland and to the filmmaking form that yielded his Oscar-nominated “Central Station,” begins where maybe every movie set in Rio de Janeiro should: at the beach. A stray dog disturbs a game of volleyball. Girls dab Coca-cola onto their skin as tanning lotion. Little kids play football and flirty teens trade gossip about pop stars and boys they like. In the sparkling water, Eunice Paiva (a stunning turn from Salles regular Fernanda Torres) floats on her back, squinting against the sun. There isn’t a cloud in the sky. But there is a helicopter.

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Perhaps if the focus was solely on the loss of Rubens — a beloved father and husband who was moved by his conscience to help the opponents of the regime in secret — the hue of nostalgia that drenches the movie would become maudlin. But Salles’ real focus (and that of the book by Rubens’ son Marcelo on which the film is based) is resilience, especially as demonstrated by Eunice, who is entirely embodied in Torres’ superb performance. The kind of woman who is effortlessly elegant in every outfit, and whose soufflés never stick to the pan, after her husband’s abduction and her own terrifying ordeal, Eunice’s resourcefulness in raising her children and starting anew despite her enormous grief and the cruel denial of her husband’s fate by the authorities, become the backbone of a story of survivorship and quiet courage.

Classical in form but radical in empathy, “I’m Still Here” arguably does not need the follow-up sections — one set in 1996 and the other in 2014 — that somewhat alter the emotional rhythm. But on the other hand, these characters are so vivid that we don’t want to leave them either, and Eunice’s campaign for the official recognition of her husband’s forced disappearance was a process that took many years to bear fruit. Not only that, but the 2014 epilogue allows us a glimpse of Salles’ “Central Station” star and Torres’ mother, Fernanda Montenegro, in a brief role as the older Eunice.

And perhaps most crucially, having the film end with Eunice’s now even more extended clan gathered once again in an airy garden for a smiling family photograph, turns it into a cautionary tale, addressed to those forces in Brazil and beyond, who would seek a return to repression and rule by fear. The national spirit you seek to subdue will outlast you. The people you try to oppress will live to see you reviled and rejected by history, while those who resist will have songs and stories written about them. They will inspire music and art in celebration of their lives and will have movies as heartsore and beautiful as “I’m Still Here” made in their honor.

Reviewed at Venice Film Festival (Competition), Sept. 1, 2024. Running time: 137 MIN. (Original title: "Ainda estou aqui")

Production: (Brazil-France) A VideoFilmes, RT Features, MACT Productions production in co-production with Arte France Cinéma, Conspiração, Globoplay. (World Sales: Goodfellas, Paris.) Producers: Maria Carlota Bruno, Rodrigo Teixeira, Martine de Clermont-Tonnerre. Executive Producers: Guilherme Terra, Thierry de Clermont-Tonnerre, Lourenço Sant’anna, Renata Brandão, Juliana Capelini, David Taghioff, Masha Magonova.
Crew: Director: Walter Salles. Screenplay: Murilo Hauser, Heitor Lorega, based on the book ‘Ainda Estou Aqui’ by Marcelo Rubens Paiva. Camera: Adrian Teijido. Editor: Affonso Gonçalves. Music: Warren Ellis.
With: Fernanda Torres, Selton Mello, Valentina Herszage, Luiza Kozovski, Bárbara Luz, Cora Mora, Guilherme Silveira, Maria Manoella, Marjorie Estiano, Gabriela Carneiro da Cunha, Olivia Torres, Antonio Saboia, Fernanda Montenegro. (Portuguese dialogue)

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‘Harvest’ Review: Athina Rachel Tsangari Sublimates Her Voice in Gorgeous, Overlong Period Fable

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The announcement of a third feature, “Harvest,” world premiering at Venice, nine years on from “Chevalier,” was cause for genuine excitement among Tsangari heads. Forays into a TV miniseries (“Trigonometry” in 2020) and regular producing gigs have been no substitute for a feature film brewed in her singular mind palace. So, how does “Harvest” stack up? Related Stories ‘Smile 2’ Trailer: Naomi Scott Is a Pop Singer Spiraling Out of Control in Horror Sequel BFI London Film Festival Announces Screen Talks with Sean Baker, Denis Villeneuve, Steve McQueen, and More

At first glance, it seems like Tsangari has totally switched things up. Her first literary adaptation (both previous films were her original ideas) plunges us into the world dreamed up by novelist Jim Crace. In an unspecified village in the wilds of Scotland on the cusp of industrial change, Walter Thirsk (Caleb Landry-Jones) is in love with land. He forages bugs from trees, then skinny-dips in a deserted lake. On returning to his village, he finds it is on fire.

As with many of the dramatic events in “Harvest” the medium is the message with imagery that further burnishes the reputation of rising DP star Sean Price Williams. Having first captured the serenity of this place through Walter’s solo revelry, now he captures its ashy filth and danger. This is a film with a comprehensive visual grammar that does not settle for one viewpoint of its absorbing setting. A sense of the charming creativity of living so close to the land is felt when a young girl paints her face using the yellow of a buttercup — she is vying to be crowned “Gleaning Queen.”

In this remote place, Walter is an outsider among outsiders. He is distrusted by most of the villagers, save lover Kitty (Rosy McEwen) because of his friendship with Master Kent (Harry Melling), another soft man but the closest thing to an authority figure here. Walter’s mother was Master Kent’s milk nurse and they shared childhoods. Adulthood has united them in another way, for they are now both widowers and grief clings to the edges of their respective solitudes.

They are both out-of-step with the herd when three strangers are found by the lake and the villagers descend — locking the two men in the pillory and shaving the head of the woman. Master Kent does not know how to use the pillory key and hesitates, nervously. Melling oozes the quiet desperation of a boy in over his head, complicating and enriching his character’s objective position of power.

Head shaved, Beldam is let go. With her friends in the pillory, she does not go far. Walter often spots her running hither and thither, seeming free in contrast with the increasingly preoccupied villagers for a harbinger of change has arrived in the form of the map-maker Quill (Arinzé Kene).

The plot is very much not the point of “Harvest,” and a deliberate vagueness surrounds key events. Later, a man dies, and who’s to say whether it was from murder, suicide or exposure to the elements. We see through Walter’s eyes, who is rarely around when key things happen and frequently unsure of how he can intervene for the better. “Some hero you are, Walter Thirsk,” bellows the man with the leg wound, with contempt. His point stands, although the film treats Walter’s relative ineffectiveness softly, as it does Master Kent’s. There is a sweetness to Tsangari’s depiction of men who technically have power but are too hesitant to make it count.

Despite its intentionality, the vagueness of the plot stretched across 130 minutes becomes testing. There is an underwritten aspect to the way that racial tensions are presented, alternately ignored and hinted at without a cohesive perspective. Although made up of many mesmerizing moving parts, “Harvest” ends up as feeling less than the sum of these. There are sparks of what makes an Athina Rachel Tsangari film great within this impressionistic period fable, even if — unlike the fires that bookend the film — it never fully takes the blaze.

“Harvest” world premiered at the 2024 Venice Film Festival . It is currently seeking U.S. distribution.

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‘happyend’ review: high school becomes a microcosm of surveillance-state oppression in affecting near-future drama.

In Neo Sora's narrative feature debut, the threat of natural disaster and citizen unrest provides justification for incursions into personal freedoms by the Japanese government and education authorities.

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Luca Guadagnino’s Queer Is More Challenging Than You Might Expect

It’s curiously fitting that of the two films director Luca Guadagnino has out this year, the queer tennis love triangle one is called Challengers while the challenging William S. Burroughs adaptation is titled Queer . The pair weren’t meant to be an intentional double feature — Challengers was originally slated for a 2023 release until the strike pushed it back — but the two end up functioning as a survey of Guadagnino’s inexhaustible interest in the topic of desire. The earlier film was all about the ways in which love, lust, and intimacy get sublimated into the sport its main characters are obsessed with. And in the new one (also written by Justin Kuritzkes ), the yearning is the focus, a force so all-consuming that it sends its main character down to the jungles of Ecuador in search of a drug he hopes will give him telepathic insights into the mind of the object of his obsession. In terms of its eroticism, Queer is so hot to the touch that every scene feels slick with sweat — which makes it all the more perplexing that, emotionally, it feels sealed off. Guadagnino has said that he didn’t want to make a film about unrequited love, but one about love in a more universal and reciprocal sense, but there’s a significant gap between the basic outline of the story he puts on screen and what he’s trying to turn that story into. Queer feels like personal headcanon — you appreciate its creator’s connection to the source material even as it’s a relationship you’re left entirely on the outside of.

Queer is based on a short novel that Burroughs wrote in the early ’50s, while he was awaiting trial for the killing of Joan Vollmer, but which wasn’t published until 1985. It was inspired by his relationship with Adelbert Lewis Marker, who was recently discharged from the Navy and kicking around Mexico City when they met. In the movie, Marker’s stand-in is a character named Eugene Allerton, an elusive beauty embodied memorably by Drew Starkey (of Outer Banks ). Burroughs’s fictional equivalent is William Lee, a hard-drinking, grand-standing American expat with independent wealth and a heroin addiction. As played by Daniel Craig, William aims for crispness but is more often a mess, hair damp across his forehead and linen suit crumpled as he stalks from bar to bar prowling for attractive young prospects. It’s not a flattering role, shaded by self-loathing as much as by self-destruction, and marked by the character holding forth about the type of effeminate “subhuman” gay man he was afraid he’d turn out to be. But Craig leans headlong into William’s unstoppable interest in all things bad for him, a category that could certainly include Eugene. Slim in his fitted shirts and pleated pants, flawless as a model, and magically untouched by the heat that gets to everyone else, Eugene glides through William’s favorite bar and into his heart, though the nature of his sexuality is left as unclear as his interest in the man who becomes his dogged though never explicit suitor.

Eugene is unruffled when William and his friend Joe (Jason Schwartzman) talk about sexual escapades, but claims to have never been to an American gay bar himself. He spends long hours with William at bars and at the movies, then leaves to play chess with a woman named Mary (Andra Ursuta) whom he may or may not be involved with. Even after he and William tumble into bed together, he’s as prone to nod to William like a minor acquaintance as he is to come by for a repeat encounter. If, as Guadagnino insists, Queer is not about unrequited love, Eugene’s unavailable nature nevertheless seems key to William’s interest. William insists on framing their relationship as an arrangement in which he pays for them both to travel through South America, and in exchange Eugene will “be nice” to him twice a week. After a bout of what sure looked like mutually enjoyed sex (none of Call Me By Your Name ’s cutting away here), William timidly asks his lover “Do you not mind this terribly?” He’s clingy with Eugene, but also relies on this self-created distance, while what’s on Eugene’s mind remains so unknowable that William starts fixating on getting to Ecuador to try a drug he’d read has telepathy-enhancing qualities — one he refers to as yage until he meets a possible purveyor and brings up another name it’s known by.

Men will literally trudge through the jungle to get Lesley Manville to give them ayahuasca instead of going to therapy, etc. They’ll also roam the streets of a soundstage-looking Mexico City to the sound of Nirvana (one of several lusciously anachronistic soundtrack moments). They’ll imagine touching the man they want to be with so intensely that a ghostly version of them will actually unhook from their body onscreen to complete the movement. They’ll have brief encounters with filmmakers Lisandro Alonso, David Lowery, and Ariel Schulman in what are essentially cameo roles. And they’ll merge in a psychedelic vision of intimacy that takes as much from body horror as it does from a more romantic connection. The stylistic choices Guadagnino makes throughout Queer are invariably more engaging than the central story itself, no matter what the filmmaker tries unsuccessfully to will it into. Like many people, Guadagnino first encountered Burroughs’s writing when he was a teenager, and Queer does feel like someone trying on a beloved article of clothing from high school that no longer really fits. It’s an awkward combination of fidelity to historical research and wish fulfillment that doesn’t serve anyone except its creator.

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This is Where I Leave You

There is but one member of the dysfunctional clan at the center of the ultimately disappointing “This Is Where I Leave You” who comes anywhere close to being content in life. That would be the potty-training tyke who likes to tote his portable throne outdoors and tend to business while enjoying the Westchester County views. His Zen approach to pooping trumps anyone else’s neurotic whining.

It might also be the reason that “sh—” is “Night at the Museum” franchise director Shawn Levy ’s preferred curse word in his first R-rated comedy.

Also possible: The kid is the most mature person on screen

Otherwise, it is gripe, gripe, gripe and snipe, snipe, snipe, all served family style with a bare minimum of relatability. True, the pleasing presence of comic pros Jason Bateman and Tina Fey , along with It dude of the moment Adam Driver and “House of Card’s” Corey Stoll as a quartet of disgruntled siblings, goes a long way to mask the failings of a script that doesn’t quite do justice to the novel on which it’s based.

Also providing some welcome distraction is the presence of Jane Fonda , more radiant than ever at 76, who is much more at ease with humor now than in her early ‘60s “Barefoot in the Park” starlet days. She is quite amusing as a Mom-zilla, who demands that her children reunite and sit Shiva for seven days following their not-very-religious Jewish father’s death. “You’re all grounded,” she tells her scowling offspring about the ritual that their patriarch supposedly wanted to be observed.

Her Hillary, a child therapist and rampant over-sharer (she extolls her late husband’s sexual prowess to any and all within earshot), is known for her infamous parenting guide, “Cradle and All,” that still has her brood seething over the intimate family secrets she tattled to the world. Meanwhile, Fey’s Wendy, an unhappy homemaker and mom of two (including the aforementioned pooper) with a work-obsessed husband, counters her mother’s insistence on keeping tradition with this observation: “Mom, you’re sitting in the exact same spot we put our Christmas tree.”

Somehow, Fonda maintains her dignity even if her character’s recent boob job becomes the object of mockery one (or two or three) too many times. Other actors aren’t so lucky.

Everyone gets one big issue to obsess over, although Bateman–whose Judd was the novel’s narrator–gets a few bonus ones along with being physically knocked to the ground at least three times. His perfectionist Manhattan radio producer has been in a funk ever since discovering that his wife would rather celebrate her birthday by having sex with his boss, a sexist-pig shock jock ( Dax Shepard ), than blow out the candles on her custom-made cake. No job, no spouse, no home–in one fell swoop. And, as bad timing would have it, no dad, either.

If anyone comes close to making “This Is Where I Leave You” tolerable, it is Bateman. But he has been the best thing about a so-so movie far too often at this point in his career. And the sudden shift into more serious matters latter in the movie are beyond even his talents to pull off.

As for the rest of the cast, Stoll is resentful eldest brother, Paul, who stayed close to home and ran a sporting-goods business with their father. He and wife Annie ( Kathryn Hahn ) are desperate to have a baby, despite possible infertility problems, and attempt to make one every chance they get. That Annie used to be Judd’s squeeze adds an extra layer to Paul’s anger.

There is always a black sheep in these types of films and Driver fills that role as well as he can as youngest child Phillip, a feckless playboy with a hot car and a hotter older woman on his arm ( Connie Britton of TV’s “ Nashville ,” who is a successful therapist just like Hillary, which suggests some Oedipal themes are afoot).

Yes, there are laugh-out-loud one-liners delivered with relish by this crew but they sound as if a writer and not a real person would actually say them. Conflicts grow all the more complicated–and increasingly less interesting–once Judd’s estranged wife and his ex-boss join in the so-called fun. As old grudges are aired and former flames materialize, you can practically predict where it is all heading . That is, save for one doozy of a reveal at the end.

Considering that author Jonathan Tropper did the film adaptation of his best-seller, he has no one to blame but himself. For some reason, the surname of this fractious tribe has been changed from Foxman to Altman–perhaps as an allusion to the cinematic master of such extended ensemble pieces. If so, “This Is Where I Leave You” is what probably would have resulted if Robert Altman ever had the urge to make a TV sitcom after losing his sense of nuance. One that would have been canceled after one season.

There is such a long tradition in these sorts of family-gathering vehicles, ranging from 1938’s “You Can’t Take It With You,” which won the best picture Oscar, to last year’s “ August: Osage County ,” that it is one of the more difficult genres to pull off. Good for Levy for trying something different. But next time he does an adult-aimed movie, he should also try a little harder.

Susan Wloszczyna

Susan Wloszczyna spent much of her nearly thirty years at USA TODAY as a senior entertainment reporter. Now unchained from the grind of daily journalism, she is ready to view the world of movies with fresh eyes.

Rose Byrne as Penny Moore
Debra Monk as Linda Callen
Tina Fey as Wendy Altman
Kathryn Hahn as Alice Altman
Jason Bateman as Judd Altman
Corey Stoll as Paul Altman
Jane Fonda as Hillary Altman
Timothy Olyphant as Horry Callen
Connie Britton as Tracy Sullivan
Abigail Spencer as Quinn Altman
Dax Shepard as Wade Beaufort
Adam Driver as Phillip Altman
Jonathan Tropper

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What Is Cinema?

George Clooney and Brad Pitt Work Better Together in Wolfs

It’s been 23 years since George Clooney and Brad Pitt first teamed up to do a caper, forming one of the more indelible movie pairings of the new century. They made three Ocean’s movies together, briefly shared the screen in Burn After Reading , and then went their separate ways.

But they couldn’t stay apart forever. Thus Wolfs , a new crime comedy that premiered here at the Venice Film Festival on Sunday. Written and directed by Jon Watts —who made the last three Spider-Man movies and, more relevantly, the clever low-budget thriller Cop Car —the film is an amiable lark, more of a saunter than a dash through wintry, nighttime New York City. As a pair of rival underworld fixers , Clooney and Pitt invert their Ocean’s dynamic. They’re strangers to one another, and initially hostile in the ring-a-ding banter way of comedies like this; we never think they’re going to start shooting at each other.

They meet in a luxe hotel suite after both being called for the same job: a panicking woman ( Amy Ryan ) is standing over the body of a nearly nude young man lying on the bedroom floor. She needs it cleaned up and to make a discreet exit. It’s an amusing, lively scene that sets the stage for a movie in which people can be hurt, but nothing is going to get too dark. Which is the right tone for a Clooney/Pitt team up; they’ve always worked best when they’re not all that serious.

Both men, unnamed throughout the film, want to be the guy in charge, a bit that gets a little stale in all its repetition but is still sold by leading-man glow. Anyway, they’re soon bonded together in a manner familiar in Hollywood plotting: a pesky youngster who has suddenly come under their care. He’s the presumed dead guy on the floor, a seeming innocent who has found himself caught up in a city-wide drug war. He explains this mostly in a spluttering, rapid-fire monologue delivered with verve by Austin Abrams , who ably holds his own against two of the biggest movie stars on the planet. The kid’s presence nicely complicates the two fixers’ rapport, and creates a surprising, morbid suspense: to make the getaway entirely clean, the kid might have to go.

But first the threesome has to go on a little quest, a minor odyssey through various corners of the city. Which, it must be said, is something of the fourth main character in the film. Watts is a local, and he films his town with affection and fresh perspective. He’s found lots of interesting locations—an outer-borough banquet hall, the forlorn Brighton Beach boardwalk, neon-lit Chinatown—and shot them lushly. A soft and steady snow falls throughout the film, adding a sense of peace and hush to offset the garrulous antics. A testament to the specific graces of on-location filming, Wolfs presents a New York that is at once recognizable and novel.

The script could use a bit more of that idiosyncrasy. While there are plenty of amusing quips and running gags, some of Pitt and Clooney’s repartee feels like recycled material from the Ocean -verse, a kind of repetitious back-and-forth that mistakes tempo for wit. There are also a few narrative contrivances that glare in an otherwise sleek, smart production—one in particular involving the aforementioned banquet hall and a Croatian wedding dance. Maybe Watts is lovingly referring back to the broad comedies of his youth, but Wolfs is otherwise too cool for such cliché.

For the most part, though, Wolfs meets the brief. It’s a confident, engaging Saturday-night movie, of the sort that has become dismayingly rare. How heartening to see a director return from the realm of superheroes (where he was responsible for some of the better entries) and make a humbler, more streamlined film for grownups. All he had to do was get two global superstars to get the project across the financing finish line.

It’s a shame, then, that Apple backed away from the proper theatrical release originally planned for the film. Wolfs is the kind of movie that probably could get people out of their houses, a satisfying complement to dinner and drinks. The movie is not trying to make any grand statements or reinvent any wheels; it is only trying to entertain. This used to be a good enough reason to leave the couch. If Wolfs is playing at a theater near you, consider making the investment. Tell the Hollywood powers that be that you’re willing to help them fix the terrible mess they’ve made.

Richard Lawson

Chief critic.

House of the Dragon Should End After Season Three

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