A movie that reminds us “there’s always a catch,” and of the dark hearts of real estate agents.
Lawrence Fishburne, Jordana Brewster and Scott Speedman star in this thriller.
A movie that reminds us “there’s always a catch,” and of the dark hearts of real estate agents.
Lawrence Fishburne, Jordana Brewster and Scott Speedman star in this thriller.



“Empire Waist” is a laugh-out-loud teen comedy about a girl’s emotionally fraught journey from making herself “invisible” to accepting who she is and embracing attention from her peers.
Claire Ayoub’s debut feature is witty but utterly predictable, uplifting in all the right ways, manipulative in many others. Characters are a checkbox of political correctness and incorrectness, with mean girls and a mom who wants to “understand,” but just can’t without help.
What all that adds up to is good-hearted and damned adorable.
Mia Kaplan (TV’s “SMILF”) gives a sympathetic performance as the poetically-named Lenore, a teen of dressmaking skill and creativity who hides all that from the world because she’s been conditioned to fear mockery.
Polite people might call her “curvaceous,” “zaftig” or “plus-sized.” But Lenore’s in high school, where those words aren’t in any classmate’s vocabulary, and where the lure of cruelty is instinctive.
Her exercise-obsessed realtor-mom (Missi Pyle, terrific) is no help, passing on grandma’s motto, “People judge your body before they judge your body of work” and drops “Remember what the nutritionist said” into too many conversations.
At least Dad, a graphic designer who taught Lenore the basics of design and clothing construction, is cheerfully supportive. He’s played by Rainn Wilson, who brings “Juno” energy to the family vibe.
What perpetual outsider Lenore needs is a lab partner, her teacher (Jolene Purdy, delightful) decides. And pairing the wallflower up with the “huge” and owning it Kayla turns out to be a life-changing/school changing moment of inspiration.
Kayla, taken amusingly over the top by Jemima Yevu in her screen debut, is a force of nature — confident, quippy and cocksure in her own skin. And before we and Lenore realize that she also has inner pain she’s wrestling with, Kayla has bowled her, us and everybody else in school over.
“You kinda dress like a widowed mall walker,” she snaps, noting Lenore’s Edgar Allen Poe black-on-black attire. Lenore may be bitterly afraid of everything about her appearance, but on seeing her classmate’s designs and Singer skills, Kayla isn’t having it.
“I declare the right to BARE ARMS!”
Lenore dresses Kayla. Kalya turns heads in the halls. That triggers the queen bee mean girl (Isabella Pisacane, who even looks like young “Mean Girl” Rachel McAdams) and fat-shaming (“It’s a PUBLIC SERVICE!”) backlash. But it also sets in motion the two of them finding their “Island of Misfit Toys” tribe — the wheelchair-bound Marcy and “future queer icon” Marcy (Daisy Washington), the towering transgender Tina (Holly McDowell), diminutive Diamond (Kassandra Tellez), labeled “slow” but actually “brilliant,” and soon others.
Because mean girls and their mean beaus and moms who just don’t get it can’t keep a plucky, talented teen down.
Yevu dominates the picture, stepping into the spotlight and speaking out for millions when Kayla declares “‘Fat’ isn’t a bad word.” But it can be “just in the minds of people who think it makes you less of a person.”
Of course there’s a big fashion show competition, with mean girl obstacles one and all must overcome to get Lenore into it to show off her riotously colorful “Empire Waist” (“always flattering”) couture.
Ayoub may have built her script on a formula, but the characters are never caricatures and up and down the line, they bubble to life. From Lenore’s sympathetic but wrongheaded mother to Kayla’s “old ways” chattering Haitian granny, the dizzy mean girl (Tabyana Ali) who figures it might be time to change tribes to the school nurse (Abra Tabak) who treats injuries physical and psychological, they’re just plain fun.
That goes for the movie, too. We know where it’s going. But it’s comforting to remember that characters with good humor and good intentions will never let the haters win, not in any feel-good movie worth its salt.
Rating: PG-13, profanity, sexual situations
Cast: Mia Kaplan, Jemima Yevu, Missi Pyle, Daisy Washington, Kassandra Tellez, Holly McDowell, Isabella Pisacane, Jolene Purdy and Rainn Wilson
Credits: Scripted and directed by Claire Ayoub. A Blue Fox release.
Running time: 1:34
This looks and sounds not half bad. Self-distributed? Still might be worth a look Oct. 1.


“Mountains” is a simple, intimate one-family’s view version of the “American “Dream” that could not be more timely. In this film, that one family is Haitian.
Set in and around Miami’s “Little Haiti,” Monica Sorelle’s debut feature is built on the age-old “make a better life” American immigrant myth, where hard work and a fair shake allows anyone to find stability, their dream house and the chance to see their children surpass their own success in The Land of Opportunity.
But the Haitian proverb about what lies “behind the mountains” that one sees (“more mountains”) that opens the film suggests the obstacles to that illusory future.
Xavier (Atibon Nazaire) is a day laborer in the demolition business run by Jorge (Serafin Falco). He’s 40ish, a hard and industrious worker entrusted with tracking down and posting “demolition” notices on the structures they’re taking down, and keeping the peace on the Latino, Black and Haitian work crew.
He spies a classic Florida bungalow, fresh on the market in his neighborhood, and shares his dream with “my queen,” his seamstress wife Eseperance (Karina Bonnefil). They’d have more space, a decent yard, a room for her to run her sewing business and their college drop-out son Junior (Chris Renois) wouldn’t seem so under foot.
But as Xavier carries out his place in Florida “progress,” he realizes he’s knocking down houses that are being replaced by McMansions. A long-established Little Haiti church is just another lot to build on. His and Esperance’s “dream house” might be standing in the way of South Florida “gentrification.”
Sorelle keeps her story intimate and the dramatic stakes low in this character study in “community.” Junior might be parking cars at a hotel, but he’s doing stand-up about his Haitian-American experience and following his bliss, something his parents’ enterprise gave him the luxory of attempting. Esperance is in demand as a designer, but within their community. Is that community long for this world?
As Xavier listens to Creole Haitian talk radio discussing the changes the area is going through, as his wife fields calls from opportunistic real estate investors, as he picks up on what his Hispanic boss really thinks of Black people in general and Haitians in particular and as he realizes that the neighbor Haitian character always walking the streets, engaged in long Creole (with English subtitles) cell-phone conversations with someone here or someone else “back home” has been displaced by white, bluetooth-babbling joggers, he starts to wonder if their “dream” has any place in this reality.
I love the way Sorelle sets up a “traditional” American immigrant narrative, and then narrows its focus to the particularly Haitian version of that story, and then lets us see a dream deferred, if not wholly upended, by the Wild West of Florida’s real estate market.
The film’s Haitian awareness — no, there’s racist no cat or dog eating rumormongering here — is novel and refreshing, and even the cutesy touch of having Junior talk about immigrant parents in stand-up bits feels honest and true.
And for those of us who remember our history, even what seem like the “unique” challenges of this community feels like a part of a shared common American Experience. Communities migrate, congregate together in Little Italy, Little Tokyo, Chinatown and in Little Odessa, Little Havana and the like. But they eventually assimilate thanks to ambition and opportunity. But even the uglier ways that happens are universal, as such enclaves are broken up by the avaracious energy of capitalism in the form of real estate re-developing that rewards the better off.
Sorelle and her documentary-real characters and the grounded unknown players playing them humanize their culture and show us their challenges are versions of all our challenges, no matter how many generations removed from it we think we are.
Rating: unrated, smoking, marijuana use
Cast: Atibon Nazaire, Karina Bonnefil, Serafin Falco and Chris Renois.
Credits: Directed by Monica Sorelle, scripted by Robert Colom and Monica Sorelle. A Music Box release.
Running time: 1:35
David Harbour, Olga Kurylenko, Oscar winner Rachel Weiss and Emmy diva Julia Louis Dreyfus star in this May “Black Widow” spinoff.
Looks…violent. And Russian. With an asterisk.
A “mythic treasure,” a Halloween curse?
A high school trio take their shot in this Oct. 1 release.
Cooper Tomlinson and Kim Sandwich and Charity Rose star on it.
The new trailer — this one is the Brit version of Trailer 2 — plays up the odds, the new star and the vengeance.
Nov. 15




It’s a murder mystery set among the filthy-rich/cash poor on Cape Cod, a tale of parties and endless infidelities in which almost everybody has some posh name or nickname — “Tag, Merritt, Greer,” “Shooter” — and almost everybody seems like a suspect.
Netflix’s “The Perfect Couple” is perfectly trashy and predictably unpredictable as it spends six episodes setting up one “HE did it” or “Maybe SHE did it” after another.
Built around Oscar winner Nicole Kidman and Liev Schreiber, thisJenna Lamia (“Good Girls,” “Awkward”) production is practically a parody of a “beach book” turned murder mystery movie, dolling everybody up and sketching characters in as “types” — the stoner womanizing patriarch, the entitled, broke bro son (Jack Reynor), his bitchy-pregnant wife (Dakota Fanning) who married money. She thought.
“The key to this family is to just stay on the periphery, where it’s safe.”
And amid the accusations, intrigues, police interrogations and flashbacks to the rehearsal dinner/party where the crime was committed, and to earlier parties and arguments, “Couple” shows off beachside mansion life, vamps a version of “how old money” acts and showcases the difference between good plastic surgery (Kidman) and bad (Isabella Adjani).
Working class Amelia (Eve Hewson) is about to marry Benji Winbury (Billie Howle). Mother of the groom Greer (Kidman) is frosty but accepting. She, too, married Winbury money. But she’s had to prop up the clan and her louche husband Tag (Schreiber) by writing fiction of the romance novel persuasion.
But Amelia’s model-thin influencer maid of honor Merritt Monaco (Meghann Fahy) turns up dead at that rehearsal dinner. People have motives. People have injuries, suggesting involvement. People have access to drugs that were found in her system.
Male people have the ability to put her in the condition she was in at her death — pregnant.
Who could have done it? Well, any of them.
The Nantucket police chief (Michael Beach) is so cowed by Winbury cash that the State sends an abrasive investigator (Donna Lynne Champlin) to supervise this case. Wait’ll she finds out the chief’s daughter is sneaking around with a Winbury teen.
And on and on the complications, interrelationships and suspicions go, with character after character subjected to scrutiny, “custody” and accusations. They sneak around and sleep around, rummage for clues or to cover their tracks, scheme and cast asperions and deflect blame.
“Dont get caught in Greer’s crosshairs!”
Even Kidman and Schreiber have trouble making their characters two, much less three dimensional. The lesser lights in the cast have no prayer.
There’s nobody here to identify with, nobody to root for, even the bride, who gets an E-Type Jaguar for her troubles.
So like any soap opera, you hunt for villains to relish. But even they — the foreign friend who’s slept with generations of Winburys (Adjani), the most abrasive heir, the loutish Tag, the controlling matriarch, the judgmental housekeeper — are lacking the snap of lip-smacking villainy.
“The Perfect Couple” has a thesis no one buys into, a dated grasp of media and scandal in the 2020s and characters that are more cartoons than flesh and blood folks with foibles. It’s a TV version of a bad “beach book,” making one wish one had spent these six hours doing something else, preferably on a beach.
Rating: TV-MA, violence, sex, profanity
Cast: Nicole Kidman, Liev Schreiber, Eve Hewson, Jack Reynor, Isabelle Adjani, Ishaan Khatter, Michael Beach, Meghann Fahy, Billy Howie and Dakota Fanning.
Credits: Created by Jenna Lamia. A Netflix release.
Running time: Six episodes @:50-63 minutes each
A filmed-in-Georgia comedy about two parents steamrolling a rural inn/venue on behalf of their respective ready-to-marry children, this one has
Geraldine Viswanathan, Meredith Hagner, Jack McBrayer, Wyatt Russell, Bobby Moynihan and Celia Weston.
Jan. 30, hear come the brides! Love the way they have to label this “New Movie” in the trailers. Because it doesn’t seem “new,” much of what’s promoted with trailers these days is of the streaming series variety, or bogus “fan made” AI-assisted fakery.
A suburban sitcom — Alicia Silverstone co-stars — turns into a comic nightmare of slaughter, splatter and revenge.
Guaranteed to offend someone — EVERYone? Finishing its festival run, “coming soon” to theatrical and streaming?