These are mini reviews of a collection of some of the last few films from the year that I wrapped up this movie season with, on top of the “big ones” I’ve individually reviewed. Please note that these are just a few of the many movies I will have watched each year, and my initial grade for any one of these films may change over time, for better or worse. To stay up to date on my thoughts about other movies and any potential changes in my opinion on these, follow me on Letterboxd.
If you enjoy these reviews, I’d greatly appreciate it if you could share this newsletter with family and friends who might love receiving film reviews, classic movie lists, and Oscars projections straight to their inbox.
ANACONDA
Plot, Via Letterboxd: A group of friends facing mid-life crises head to the rainforest with the intention of remaking their favorite movie from their youth, only to find themselves in a fight for their lives against natural disasters, giant snakes, and violent criminals.
Mini Review: Halfway through Anaconda, I was actually thinking to myself, “Why am I actually vibing with this?” I was genuinely enjoying the absurd comedy of a few friends trying to remake the 1997 flop while chasing goals they’d long abandoned.
And then the film completely implodes in the second half, abandoning that story to turn into a creature-feature horror comedy that got away from the first half’s strengths. I went from chuckling to checking my watch, wondering when it would end.
Not as god-awful as the trailers suggested, but not good either. Completely forgettable, empty cinematic calories at the movies. Definitely not the strongest way to cap the year in film.
Initial Grading: C+
IS THIS THING ON?
Plot, Via Letterboxd: As their marriage quietly unravels, Alex faces middle age and an impending divorce, seeking new purpose in the New York comedy scene while Tess confronts the sacrifices she made for their family; forcing them to navigate co-parenting, identity, and whether love can take a new form.
Mini Review:Is This Thing On? is one of the rawest films I’ve ever seen in its exploration of what a long-term marriage actually looks like. As someone who went through a trial separation myself, it captures all the highs, lows, and awkwardness of that experience with startling honesty.
Bradley Cooper is now three-for-three for me when it comes to his directorial works. He has an incredible handle on depicting relationships in his filmography, and right now, nobody is touching him in that regard.
Arnett and Dern both deliver terrific performances, while Cooper himself is funny as hell in his few scenes. Searchlight really dropped the ball by not campaigning this more aggressively. One of the best films of the year.
Initial Grading: A-
RENTAL FAMILY
Plot, Via Letterboxd: An American actor in Tokyo struggles to find purpose until he lands an unusual gig - working for a Japanese “rental family” agency, playing stand-in roles for strangers. As he immerses himself in his clients’ worlds, he begins to form genuine bonds that blur the lines between performance and reality.
Mini Review: We absolutely failed Rental Family. Once thought to be the frontrunner to come out of TIFF with the People’s Choice Award and be in Best Picture contention, the film’s strong audience scores make it clear just how deeply it connects with those who seek it out.
This is a movie about human connection in an era where a loneliness epidemic is all the talk. It hits you squarely in the feels while prompting reflection on how deeply we all long to be seen and connect with. If I had to nitpick, the final act does feel a bit rushed in its attempt to wrap everything up, but overall this is a warm, audience-friendly film that is easy to recommend.
Initial Grading: B+
THE HOUSEMAID
Plot, Via Letterboxd: Trying to escape her past, Millie accepts a job as a live-in housemaid for the wealthy Nina and Andrew Winchester. But what begins as a dream job quickly unravels into something far more dangerous; a sexy, seductive game of secrets, scandal, and power.
Mini Review: I’ve admittedly never been the strongest supporter of Paul Feig’s filmography outside of Bridesmaids. I still don’t understand how he somehow became Hollywood’s choice for “female thriller whisperer” after building his career on comedies, and yet here he is again, adding another entry to that side of his catalog with The Housemaid.
Unfortunately, this did nothing to win me over to Feig’s approach to thrillers. Amanda Seyfried and Sydney Sweeney do what they can to keep the audience invested, but Feig’s irritating tendency to dress tawdry trash up as eroticism, and his clumsy, eye-roll-inducing twists, hasn’t improved at all. The same issues that have bled into much of his work that hasn’t clicked for me. I genuinely wish he’d give it a rest with these bad thrillers, but Hollywood execs seem hell-bent on continuing to hand him the keys to waste my time with them.
Initial Grading: C-
THE TESTAMENT OF ANN LEE
Plot, Via Letterboxd: The extraordinary true legend of Ann Lee, founder of the devotional sect known as the Shakers.
Mini Review:The Testament Of Ann Lee boasts a banger soundtrack I can’t wait to revisit, incredible dance choreography, and some of the best costumes of the year. Seyfried is exceptional here.
That said, the movie’s overly linear storytelling and heavy reliance on narration cause it to blend in with countless other biopics. When the musical numbers aren’t happening, I found myself struggling to fully lock in with the plot and the character arcs.
Overall, I liked this more than not, but the music is unquestionably its strongest asset, and it ends up doing a lot of the heavy lifting for the elements of the film that didn’t work as well for me.
