Every once in a while, there comes a movie so funny, so inspiredly dumb, so thoroughly entertaining that it short circuits any attempts at logical criticism and you wonder how it could’ve possibly failed. In 2016, that movie was the Lonely Island’s music industry satire “Popstar: Never Stop Never Stopping,” a movie that featured a song entitled “Finest Girl (The Bin Laden Song)” and somehow wasn’t the number one film in America for six straight weeks. This year, the lucky film is “Barb and Star Go To Vista Del Mar,” Kristen Wiig and Annie Mumolo’s return to screenwriting after “Bridesmaids.” A movie like this isn’t so much a comedy as it is a vibe: you either get what it’s doing and fall madly, deeply in love, or you don’t and come away befuddled at what you just saw. The highest compliment one can give is that if this were a normal box office release it would gain cult status almost immediately.

Mumolo and Wiig play the titular characters, a culotte-obsessed pair of middle-aged women hailing from Soft Rock, Nebraska (genius), both with men who’ve left their lives. Our introduction is them chatting up a storm, bouncing off each other and going on wild tangents. They instantly feel like lived-in, real people rather than the collection of tics and wacky mannerisms it would be so tempting to devolve into.

After their job closes down, and their Talking Club (featuring Vanessa Bayer and Fortune Feimster, along with a joke that made me die laughing for no reason I can logically explain) kicks them out for lying about said jobs, the two decide to throw caution to the wind and travel to that middle-aged paradise: Vista Del Mar, Florida.

In this pastel-colored resort, the two find themselves swooning over Edgar (Jamie Dornan), who’s in town to place a device that will release killer mosquitos at the behest of his evil supervillain girlfriend, also played by Kristen Wiig. Yes, it’s that old saw again. Somehow, through sheer confidence alone (along with director Josh Greenbaum) the movie pulls it off. It’s the kind of thing that could be excessive but fits so seamlessly into this weird world that you just go along with it.

“Barb and Star” is full of these sort of weird gags and strange digressions. Did anyone think we needed to see Jamie Dornan sing a conflicted song to seagulls? I sure didn’t! What about Kristen Wiig serving Madonna in her best Cate Blanchette realness? Can’t imagine how I ever lived without it. Or how about an extended treatise on how perfect the name “Trish” is that swells into an elaborate backstory and development over a person who most certainly does not exist? Sure, bring it on! Time after time, Wiig and Mumolo’s script tosses out absurd gags and commits to it fully. There’s no fear of any of it faltering, because a new gag will be there to replace it just before you’ve finished processing the last one. More than anything it’s a sense of generosity, a confidence in the execution and sheer out-there ideas like a club remix of “My Heart Will Go On”. Oh yeah, there are musical numbers in here too; and they’re all so much better than they needed to be.

Perhaps what’s most surprising is how heartfelt it all is. Mumolo and Wiig’s performances feel grounded and lived in, the latter especially taking a much subtler tack than her work on “Saturday Night Live” tended to be. The two have a sparkling rapport, building off each other as if in a constant state of “yes, and”-ing, their friendship shining strong the whole movie. It knows exactly what to find funny and what to take seriously, namely Barb’s more hesitant nature and Star’s lack of self-esteem ever since her husband ran off. It’s wonderful to see a middle-aged romance treated not as a joke but as something worthy in and of itself, and it helps that Dornan is just as game as his co-stars in all aspects, down to embracing the silliness and pining to be an “official couple.”

“Barb and Star” is, as the ladies themselves would describe it, a real tit-flapper of a movie. At times it feels like a movie solely made for Wiig and Mumolo to toss off ideas at each other and do what amuses them both. Thank God for that. More than anything it’s such a pleasure to see such a weird, singularly unique comedy with as much attention paid to the visual style (that set design! The editing! All those colors!) as to the many cameos. While it’s tempting to just list out the many, many gags I loved, my best advice is to go in blind and let it wash over you like a much-needed vacation.

Netflix has once again made its viewers feel either incredibly single or incredibly appreciative of their significant other with the release of “To All The Boys: Always and Forever” on Feb. 12. It is the third and final movie adapted from the “To All the Boys I’ve Loved Before” book series, written by Jenny Han. Throughout the movie, Lara Jean Covey (Lana Condor) and Peter Kavinsky (Noah Centineo) navigate the troubles of college acceptances and figure out how to maintain their relationship while in college.

The movie depicts the classic storyline of distance standing between two high school sweethearts and the question of whether they will defeat that distance. Lara Jean ultimately has to decide if she will go to Stanford with Peter as they planned or follow her own wants and dreams. The film does a mediocre job of depicting college acceptances and the struggles of couples juggling the concept of a long-distance relationship. It provides a cliche ending for the hopeless romantics out there, but the sappiness between Lara Jean and Peter may have some viewers turning off the film or mindlessly scrolling through their phones for a portion of it.

There are many plot holes in the movie. The gaps between this movie and the second in the series are more than evident. The entire movie is about this inevitable distance Lara Jean and Peter will experience, but there are background storylines as well that do not have enough detail.

Viewers catch a glimpse into the relationship between Peter and his dad this time around and are taken on Peter’s journey of forgiveness towards him. There is also much love in the air around characters who are not in the main couple. Kitty Covey (Anna Cathcart) finds a love interest of her own in Korea. Dr. Dan Covey (John Corbett) furthers his relationship with love interest Trina Rothschild (Sarayu Blue). However, these side storylines feel rushed.

The “To All the Boys” movies are known for their underlying themes of sisterly love. But the sisters aren’t together for much of this movie at all, and when they are, it is more of a montage than anything meaningful.

The movie conveys the message of prioritizing what one wants and not settling for something to please someone else. It shows that breaking plans is a part of life, and that it is okay. Another theme of the movie is that a person will go to great lengths for the person that they love, though this does not reflect a sizable portion of high school relationships. But a rom-com wouldn’t be a rom-com if it didn’t set extremely high expectations for love and make everything work out in the end.

It is not the best ending to the series, but it’s still worth a watch.

With nearly 150 million records sold worldwide, Britney Spears has rightfully earned her title as the “Princess of Pop.” The singer revolutionized music in the early 2000’s, quickly amassing a cult following. However, Britney has recently been gaining attention for a different reason: the #FreeBritneyMovement.

“Framing Britney Spears,” produced by the New York Times, analyzes the popstar’s notorious downfall and, more importantly, who is responsible. The documentary became viral in light of Spears’ conservatorship trials, spurring questions among supporters. What is a conservatorship? Why is it important? Why do we need to “free” Britney Spears?

A conservator is one that preserves from injury or violation — a protector. Legally, a conservator is typically appointed to elderly people unable to manage themselves without involvement. In the case of an able-minded and -bodied Britney Spears, her father is in charge of her medical decisions, social life, and bank account.

The documentary begins with Spears’ origin as told by her former assistant, Felicia Colotta. Colotta explains that Spears had always been a shining talent, even in her small hometown of McComb, Mississippi. Constantly traveling to New York for auditions, Colotta was soon appointed as a “chaperone” for Spears. Although she was young, Spears was a bright and ambitious performer.

Trouble began soon after Spears’ debut album, “…Baby One More Time,” became a viral sensation. Spears was criticized for her music, fashion and relationships, all of which branded her as “overly sexual.” After a public breakup with Justin Timberlake, Spears’ image was further damaged.

As Spears became a wife and mother, the paparazzi became unbearable. Constantly following Spears around with cameras, a single photo of the starlet was worth up to a million dollars. Blasting Spears for her sudden divorce, custody battle and drug addiction, every decision of hers was under constant scrutiny.

After being admitted into an institution, Spears’ father, who she had an estranged relationship with, assumed temporary conservatorship of her person and estate. Unfortunately for Spears, the conservatorship quickly became a permanent fixture in her life. As a successful 39-year-old singer and dancer, Spears is one of the most sought-after performers alive (especially in Las Vegas). Although Spears has always opposed conservatorship, she has become increasingly public about her stance.

The documentary, after exploring her life and career, details the #FreeBritney movement. Although Spears’ trials have always garnered press, her supporters have sparked an online revolution. Fans began protesting for Spears’s freedom after analyzing cryptic messages on Spears’ social media pages.

The conservatorship with her father, having lasted for decades, has only recently been scrutinized by the public. Jamie Spears has allegedly never had a consistent relationship with his daughter until the conservatorship, which he greatly profits from. As her conservator, Jamie Spears has agreed to hundreds of interviews, concerts and appearances on his daughter’s behalf, earning millions of dollars off her labor. After her father had an altercation with one of her children, Spears decided to pursue matters more adamantly. There have been numerous trials, but none have granted Spears the freedom she seeks.

The documentary exposes the darkness not only in the life of stardom but also in our social system. Spears has been demonized for having mental illnesses that are widely accepted today, such as depression and anxiety. After decades of intruding upon her privacy, tabloids were quick to call the singer “crazy” after her breakdowns. Spears’ downfall is a result of a misogynistic, vicious culture, which tore her down since she was a teenager.

Britney Spears is no ordinary celebrity. Her themes of individuality, sexuality and expression have given voice to many, including those in the LGBTQ community. As Spears’ plight continues, supporters hope not only for her release but for the conservatorship system at large to be reexamined. In the upcoming trials, “it is not an exaggeration to say the whole world is watching.”

Hospital Bracelet, a three-person emo/pop-punk band from Chicago, released their debut LP on Jan. 12. This album, titled “South Loop Summer” has seven tracks total, two of which had been released last year as singles.

Hospital Bracelet was started by lead singer and guitarist Eric Christopher in 2019 when they released their first work: “Neutrality Acoustic.” This six-track self-produced EP was a hit among emo fans and Christopher got to work recruiting drummer Manae Hammond and bassist Arya Woody for their next album. With the addition of the new band members, Hospital Bracelet has been able to release rerecorded “Neutrality Acoustic” hits like “Sour OG RPG” with a newer more intense emo-punk sound.

Hospital Bracelet does not like to be limited by tying themselves to one genre, and the variation in “South Loop Summer” is indicative of that. Twinkle-y guitar riffs in songs like “Happy Birthday” are recognizable within the midwest emo genre, but the guitar backing in songs like “South Loop Summer” is unmistakably pop-punk. Before this album, I had never really considered myself to be a fan of songs typically categorized as emo. However, after hearing the album’s second song: “Sober Haha JK Unless,” I was sold on Hospital Bracelet’s talent and started to broaden my genre horizons.

“South Loop Summer” consists of seven really strong and unique songs. Christopher’s sometimes wavering but never weak voice really characterizes the music, and their viewpoint as a songwriter shines through in every lyric. Each song tells a story; the album is filled with stories of addiction, dropping out of school and escaping toxic relationships.

“Sheetz vs Wawa” is the slowest song on the album, and provides the listener a bit of space for reflection contrasting with the faster rock sound of the previous song “Feral Rat Anthem.” In “Sheetz vs Wawa” Christopher tackles the heavy topic of questioning whether their relationship has been toxic the entire time, asking “Have you been this person all along?” and stating that because of this relationship they “feel like nothing.” As soon as the listener has fully comprehended the meaning of the slow song, they are launched into the next loud and fast song: “Sour OG RPG.”

“Sour OG RPG,” which also happens to be my personal favorite song on the album, uses the metaphor of playing a Dungeons and Dragons game to describe the frustration of being dedicated to a toxic relationship with a person who does not share the same feelings for you. This fast and frustrating song is interjected with the yells of Christopher as they check themselves and recognize the true nature of their situation. This song is such a sweet blend of punk and emo, you can’t help but be sucked into the D&D game and relationship being described.

If you are a fan of emo or punk rock, I would strongly recommend checking out Hospital Bracelet. I think that with the proper momentum and support they could be as popular as the likes of American Football in the emo scene someday. The band tackles heavy subjects in a way that makes you want to sing right along with them. “South Loop Summer” is available on Bandcamp, Spotify and Apple Music.

We all have favorite films, but how about favorite movie snacks? Or better yet, what snack has the best movie vibe?

Here’s a comparative list of a handful favorite genres and snacks to match their energy. Next time you plop down on the couch for a quarantine binge, check out some of these snacks.

Veggie Straws make the perfect snack for dramedies such as 2019’s award-winning film “Marriage Story,” available to stream on Netflix. These films are raw and vulnerable; a reminder that you do, in fact, have feelings, but also a great sense of humor — a reminder that you are human. Veggie Straws are the snack moms serve after school on a Thursday afternoon: you have school tomorrow still, but deserve a break from a hard day of failing geometry.

Old black-and-white movies are a blast from the past, just like Red Vines. They aren’t exactly on shelves next to M&M’s or Lady Gaga’s Chromatica Oreos. Think about it: a VHS copy of Cary Grant’s 1959 spy thriller “North by Northwest” is probably on the same shelf in your grandmother’s basement as Red Vines.

The greasy, buttery-but-definitely-not-real-butter guilty pleasure of movie popcorn needs a guilty pleasure of its own: coming-of-age teen movies. Not cinematic complexities such as “Ladybird”, rather comedies like “Superbad.” What it lacks in emotional depth, it makes up for in endearing Michael Cera awkwardness.

Pretzels are another salty snack, this stable and reliable treat pairs nicely to horror movies like the “Scream” series. Crunches of a pretzel mask racing hearts and mimic creaks on a floorboard, while sliced fruit, such as apples, are refreshingly sweet and crunchy, like an iconic rom-com. Curl up on the couch to watch these comforting classics: whether an age-old pairing such as Julia Roberts and Hugh Grant a la “Notting Hill,” or a fresher take like Constance Wu in “Crazy Rich Asians,” these feel-good lovey-dovey flicks deserve a sweet treat.

Big-name studio films, like the newest Marvel or Star Wars addition, deserve the boxed candy of your choosing. Uniting generations of superfans and suckers willing to pay movie theater prices for boxes of dollar store candy, boxes of candy are a much-needed comfort.

Known by many names, including Puppy Chow, Muddy Mix or Reindeer Food, the powdered sugar, chocolate, peanut butter and cereal combo has been served at middle school sleepovers across the country, in a time before we cared about sugar intake and budgets for films. That’s right: Disney Channel Original Movies. What other genre is deserving of this nostalgic treat — or of Zac Efron’s singing skills.

5 Underrated Rom-com’s for Valentine’s Day

From “Pretty Woman” to “Runaway Bride,”  my obsession with Julia Roberts has stemmed from a young age. And who can blame me? I grew up in the golden era of romantic comedies (otherwise known as the late 90s and early 2000s). That being said, there are only so many times I can watch “Mystic Pizza.” If you, like me, have exhausted Netflix for rom-coms, look no further. Charming, sweet, and oh-so-classic, these movies will satisfy any hopeless romantic. Whether you’re spending Valentine’s Day with your significant other or a box of overpriced chocolates, sit back and enjoy the show.

“The Half of It” (2020) 

Ellie Chu (Leah Lewis) has never bothered with high school semantics until puppy-dog Paul Munsky (Daniel Diemer) asks for a favor. Paul, who struggles speaking to his crush Aster Flores (Alexxis Lemire), begs Ellie for help writing love letters. The only problem? Paul isn’t the only one crushing on Aster.

A refreshing take on highschool romance, “The Half of It” redefines movies of its genre. Witty, innovative and nostalgic, “The Half of It” is the unconventional choice for an unconventional Valentine’s Day.

Streaming: Netflix

“Emma” (2020)

Tired of life in the pandemic? No worries. Regency dramas were practically created to escape reality. Become immersed in an age of enchanting romance, otherwise known as 19th century England. To all my Jane Austen fans out there, this one is for you.

The charming Emma Woodhouse (Anya Taylor-Joy)  is always playing matchmaker for her friends and family. Unfortunately for Miss Woodhouse, she is a seasoned professional in everyone’s affairs but her own. In this dizzying tale of friendship and love, follow Miss Woodhouse as she meets her match. And her reckoning.

Streaming: HBO, Hulu, Amazon Prime

“Crazy, Stupid, Love” (2011)

Need a crowd pleaser for movie night? “Crazy, Stupid, Love” has something in store for everyone. With A-list casting, hilarious dialogue, and a heartfelt message, “Crazy, Stupid, Love” is perfect for any audience. For your friends who love rom-coms, and your friends that don’t, “Crazy, Stupid, Love” has you covered.

When American-dad Cal Weaver (Steve Carell) is on the brink of divorce, his entire world is shattered. In a chance meeting, Jacob, a self-proclaimed playboy, agrees to give Cal lessons on “regaining his manhood,” forming a beautiful yet unlikely friendship. Unfortunately for Cal, “getting the girl” is not as easy as it looks. In this spider-web romance, we learn that love is not only crazy and stupid but also gut-bustlingly funny.

Streaming: Amazon Prime

“The Decoy Bride” (2011)

Although not well-received by critics, this film is recognized as a hidden treasure by many. On a secluded island outside Scotland, James Arber (David Tennant) and his movie star fiance are preparing for a secret wedding. Unbeknownst to them, the paparazzi are hot on their tails and ready for that million-dollar picture. Enter island resident Katie (Kelly Macdonald), who with much bribery, assumes the role of “decoy bride.”

“The Decoy Bride” is funny, tender and genuine. If you miss the old era of rom-coms, what with their endearing simplicity, “The Decoy Bride” is for you. The plot is nothing revolutionary, but the chemistry between Tennant and Macdonald is sweet and familiar. Watch “The Decoy Bride” for a light-hearted, amusing film.

Streaming: Amazon Prime

“Love, Rosie” (2014)

Warning: bring a box of tissues. Certainly not for the faint of heart, “Love, Rosie” is an emotional rollercoaster of ups, downs and sideways. Reminiscent to the cult-classic “The Notebook,” “Love, Rosie” is a romance for the ages.

Alex (Sam Claflin) and Rosie (Lily Collins) have been childhood best friends, and in love with each other, for practically their entire lives. When life after prom threatens to tear them apart, Alex and Rosie are determined to preserve their friendship. Oceans apart, time and distance prove to be a worthy opponent. A beautiful yet frustrating film that reminds us: love will overcome all.

Streaming: Amazon Prime

5 Overrated Rom-coms for Valentine’s Day 

Valentine’s Day: we look forward to it (if only for the free candy) and the chance to watch movies. For some, the winter holiday is the perfect time to cozy up with a rom-com, if only to distract from the pit of loneliness. Here’s a list of flicks NOT to watch this Valentine’s Day.

“Marriage Story” (2019)

This is a holiday to celebrate the unconditional love and appreciation in life: family, friends, pets, significant others, not to watch Adam Driver sing Sondheim as his marriage to Scarlett Johansen falls apart. Save that for St. Patrick’s Day.

Streaming: Netflix

“Gone Girl” (2014)

While Rosamund Pike absolutely steals the show in this amazing film, maybe opt for Pike as Jane Bennet in 2005’s “Pride and Prejudice” instead for a lighter take. What period piece Jane lacks in Cool Girl monologue, she makes up for in gentleness.

Streaming: Hulu, Amazon Prime

“Gerald’s Game” (2017)

There are 365 days in the year, and Feb. 14 is not the day to watch the 2017 psychological thriller starring Carla Gugino and Bruce Greenwood in a mind-twistingly creepy cabin film.

Streaming: Netflix

“Audition” (1999)

It’s always a good idea to expand your cinematic palette and explore the world of foreign films, but maybe stay away from this 1999 Japanese horror film, about a widower on the hunt for a new wife. It’s famous for a warped and twisted genre shift best left to discover yourself.

Streaming: Amazon Prime

“Mother’s Day”  (2016)

This goes without saying. You can hold off three more months for Garry Marshall’s poorly constructed 2016 final film.

Streaming: Amazon Prime

Honorable mention: “The Death of Mr. Peanut.”

This year’s Super Bowl commercials were lackluster, at best (We get it — Paramount has a streaming service now and Queen Latifah is trying her hand weighing the scales of justice), but pale in comparison to Planter’s 2020 ad highlighting the death of Mr. Peanut. In the year since his death, we’ve been a bit preoccupied with other global happenings, but there’s no need to relive the unnecessary death of the monocled nut on this day of love.

“Stars” — PRETTYMUCH

It has been a whole year since the last release from the band PRETTYMUCH, a Simon Cowell project that started in 2017. As someone who has been following the group since their debut single “Would You Mind” was placed atop the “New Music Friday playlist,” their prime days rivaling the band Why Don’t We do not seem that long ago. However, boy band battles have been lost along with most of the band’s momentum, and here we are in 2021 with the group’s comeback single. I will admit, my expectations were not set high. The band seemed to have lost their spark after countless singles and no debut album, and not to mention many of their high school-aged fans growing up (myself being a prime example).

I was happily proven wrong though after my first few listens to “Stars,” which proved that PRETTYMUCH can still do what they always do. The group’s chemistry has returned, and each member takes turns laying down their fairly equal contribution. The presence of one group is felt, rather than five different vocalists. As always the instrumental is surprisingly solid, with the highlight being the simple addition of electric guitar driving the pre-choruses. The hook is not conventionally catchy, but Zion’s auto-tuned delivery stays in your head. The group sticks to their strengths on “Stars” and recovers shockingly well with their comeback single.

“Excite Me” — Lil Skies & Wiz Khalifa

In the complete opposite scenario as the PRETTYMUCH track, I have never called myself a Lil Skies fan. I would say his previous collaboration with Wiz Khalifa, “Fr Fr,” should have been enough to never make me try another song from these two again; I think Skies’ verse on that song is absolutely terrible. Lil Skies has managed to set himself apart from other mainstream rap artists nowadays only by spacing out his album releases by a few years, and I found myself interested enough to check out his newest project “Unbothered.”

Due to the fact that Lil Skies’ voice is not very appealing to me, this song is carried heavily by the production and the guest verse from Wiz. The oddly-textured synths float under some simple trap drums, and the kick and 808 bass-bounce nicely and punch hard on the chorus. Wiz Khalifa steals the show performance-wise leaning into a melodic flow that flatters his voice. He also delivers some airy background vocals that make his entrance a highlight of the track. Skies ends up delivering a catchy hook where he surprisingly brags about staying loyal to his girl, and ends the song with some cool outro adlibs. By exceeding expectations astonishingly, “Excite Me” gains a tiny bit of my respect back for this notorious duo.

“Dearest Alfred (MyJoy)” — Khruangbin & Knxwledge

As Khruangbin’s recent rise to indie fame continues, the trio expands their sound and fanbase by enlisting the outstanding hip-hop producer Knxwledge for their most recent track “Dearest Alfred (MyJoy).” This song is a remix of “Dearest Alfred,” the eighth track off of Khruangbin’s 2020 album “Mordechai.” It is an unexpected collaboration that makes sense, and appears to appeal to both fan bases by clocking in 900,000 streams in its first two weeks on Spotify.

The original “Dearest Alfred” is a steady, open track focused around vocals and bass. While neither version features very prominent drums, Knxwledge’s mix adds his trademark simple, swingy beats and cuts. The bassline bounces the drums with a consistent pulse, and the keys do the same at a faster rate. Khruangbin’s vocals hover over the rhythms, and sweet guitar riffs fall into the mix as well. While it is not quite as tight and memorable as the best songs from either artists’ solo projects from 2020, it is a smooth and cohesive remix from two all-stars of their respective genres.

“Bluish” — Arlo Parks

Arlo Parks has kicked off 2021 with her debut album “Collapsed in Sunbeams.” Surprisingly, it is one of the biggest pop album releases of the year so far due to a strong push through streaming services. Her adult-pop sound is mainstream-ready, and calls back to artists like Dido and early Adele. My personal favorite track off of her debut is called “Bluish,” which falls second to last in the tracklist.

The song’s short verses and memorable chorus talk about a past relationship with a partner that struggled to find boundaries with Parks. In the chorus she says “when I say I need some space I shouldn’t have to ask you twice,” which is an impactful and memorable hook. In the second verse, she states she “never had the chance to miss you.” These lyrics are delivered in a calm and controlled way over crackly drums and somber piano chords. It is a beautifully written and produced song that demonstrates the newcomer’s strengths across the board.

“Gravity” — Brent Faiyaz, DJ Dahi & Tyler, The Creator

“Gravity” is a song that is built to succeed in every way. Besides the two main vocalists Brent Faiyaz and Tyler, The Creator (who could produce enough attention and quality on their own), the track credits guitar and bass to Internet icon Steve Lacy. DJ Dahi, listed alongside Faiyaz as a primary artist, has produced many notable Kendrick Lamar songs and recently did “12.38” with Childish Gambino. Mathematically, this song is very cool.

Sonically it does not disappoint. Lacy’s guitar is looped throughout the track, and Dahi’s drums punch hard along with scattered sound effects. As the instrumental repeats, you can picture Dahi behind a soundboard on stage with the performers playing the arrangement live. Faiyaz sings to win over his girl’s trust, and Tyler’s appearance is short but solid. In the last section of the track, the drums cut and the key changes for the final hook. The slightly lowered vocals make Faiyaz’s harmonies resonate beautifully. As a song with undeniable expectations, each artist comes through and proves that they deserve the reputation they have earned.

“Wonder Woman 1984” was released this past December in theaters and HBO Max. As a fan of the 2017 movie, I had high hopes for the film’s sequel. The movie started off on a very comic book-esque note, with Wonder Woman apprehending four bumbling men who are stealing black market valuables in a heavily 1980s-themed mall. This scene introduced the movie on a very stylized and simple note, making it clear that the film would be heavily incorporating ‘80s style and evoking nostalgia.

Set 66 years after the 2017 film, Wonder Woman (Gal Gadot) is now an employee of the Smithsonian Museum. It is here that she meets Barbara Ann Minerva (Kristen Wiig), a shy woman still working to find her confidence as she enters a new job. The main conflict is revealed when Barabara discovers that one of the valuables from the earlier scene grants wishes. Wonder Woman and her lost-love Steve Trevor (Chris Pine) must work to prevent failed oil baron Max Lord (Pedro Pascal) from wishing the world into a state beyond repair.

Although the overall plot seems like it would generate an action movie about an independent woman who fights crime and saves the day without the help of a man, that is sadly not the case. Wonder Woman yearns for and then inadvertently brings back her WWI-era boyfriend at the beginning of the film, showing us very little of how the Amazonian princess adapted to life as an independent woman for the past 66 years. Obviously, Wonder Woman does not need to be single to show her power, but one may note that romantic partners do not take up nearly as much screen time in most male superhero movies.

Other plot points that could have been further developed include the backstory of the villain Cheetah. Although we see her descent into villainy, most of her evil deeds do not seem warranted given her relatively easy life up until this point. Additionally, her devotion to Max Lord feels unwarranted and reduces her overall autonomy. I wish we could have seen more of Cheetah’s journey throughout this story, especially because this is her debut as a villain in the DC films. A final weak plot point is the rules of this valuable artifact in its wish-granting capacity. It seems as though one must give something up for each wish granted, but the limitations of this are unclear and the solution to this issue is equally foggy.

Many of the performances in this film were strong. An especially notable performance is that of Pedro Pascal. Max Lord is written and performed unlike his character in the comics, but Pascal embodies him in such an over-the-top manner and with such cartoonish villainy that this version of Lord could have been taken directly from the pages of a comic. Unfortunately, Gal Gadot’s performance as Wonder Woman cannot compare. Gadot may aesthetically fit the part, she seems to fall flat. At times Wonder Woman seemed more like a model in a commercial than a real person fighting for truth and justice.

At this point, I would not recommend spending money to see the film on-demand unless you are a fan of mediocre superhero movies or just really like Gal Gadot. Otherwise, I’d recommend waiting until the film inevitably ends up on streaming services again.

“Wonder Woman 1984” set high expectations and was unfortunately unable to meet them. With a faltering lead and a generally weak plot, the movie was a disappointment to me and many others who enjoyed the first “Wonder Woman” movie. I really wish that it had been better. We need more strong female heroes in film; this movie just did not deliver. While I enjoyed Pedro Pascal and Kristen Wiig’s performances, they were unable to salvage a lackluster story, a story that made a 2.5- hour movie feel even longer.

Grief has been a theme in horror for a long time, but you could be forgiven for thinking it started in the last decade when “elevated horror” became the new buzzword. At first glance, Shudder’s “Anything For Jackson” — with its bereaved grandparents seeking to perform a satanic ritual to bring their grandson back — would slot perfectly into this subgenre. While director Justin G. Dyck (incredibly, making his debut after a stint in holiday movies) doesn’t skimp on the creep factor, the biggest surprise is the vein of black comedy running throughout, courtesy of writer Keith Cooper.

The opening scene introduces us to Audrey (Sheila McCarthy) and Henry (Julian Richings), a doddering old couple who kidnap a pregnant woman and hold her captive. The woman is Becker (Kostantina Mantelos), a patient of Henry’s who happens to be a perfect match to host the spirit of the titular Jackson. These scenes are when the movie’s tone diverges; they do a fantastic job of sketching the characters into quintessential grandma and grandpa characters making poor choices, rather than an actively malicious “Rosemary’s Baby” type. It also demonstrates Dyck’s penchant for a match-cut to different time periods, as he cuts from Henry spacing out to the couple attending a black mass at the local community center (an extremely funny scene). Becker, meanwhile, starts off being relegated to a scream queen but later in the movie — and in flashbacks — develops nicely into an ersatz heroine.

Of course,  their plan can’t go well and the latter half of the movie details the fallout of what happens when you put out an open invitation for spirits to come live in a new host. This is the moment when it switches back to fun horror mode. There may not be any original type of ghosts, but damned if they don’t pop out some creepy new creations, like a twisting demon with a bag on its head, or a woman literally flossing her teeth out. Special notice should go to a particularly effective use of the corny sheet ghost that turns from absurd to frightening in a minute. Perhaps the downside to getting to the good stuff so fast is that Jackson himself never feels like much more than a plot point. Likewise, the fact that it starts so far into their grief means missing out on the desperation before, and the reveal of what happened doesn’t have the impact that it should. Despite that, “Anything For Jackson” manages to give some excellent spooks, and a scene with a snowblower that should go into the “Fargo” Hall of Fame. The ending doesn’t have a lot of surprises, but for a movie about grief, it sure is fun.

Anyone can cook, they say — and now, anyone can create a musical as well.

Featuring a star-studded cast of television and stage talent alike, the virtual production of “Ratatouille: The TikTok Musical” raised money for The Actor’s Fund, an organization dedicated to supporting performance arts professionals. Through sales and donations, over $1 million were raised.

Shorter than a typical two-act musical, “Ratatouille: A Tik Tok Musical” clocks in at just under an hour and features an original score of 12 songs. The opening number, “Anyone Can Cook,” introduces the live-action counterparts of the French-favorite animated movie. TikTokers worked hand-in-hand with Broadway creative teams to pull off this event.

Expectations for this production were not nearly as high as the profits. On one hand, community involvement paired with Broadway-quality production opens a new door for theater as technology moves to center stage. On the other hand… this was a musical written on TikTok. No one was expecting Tony-worthy performances. It was comforting enough to have an original piece of theater safely created during the pandemic.

Yet many of those involved truly gave it their all — the true star of this production was former “Mean Girls” musical star Ashley Park as Colette. Park exudes talent, empowerment and strength playing a female cook in a man’s kitchen, and she’s not afraid of the challenge. With a killer French accent and impeccable tone during her featured song, Park came to serve. Order up!

Other members of the star-studded cast include Tony award-winner Andre de Shields as Anton Ego and Titus Burgess as Remy. Burgess stood out for bringing even more comedic charm to Patton Oswalt’s beloved character. The simple role of an unparalleled food critic could not have been better matched with de Shields’ unparalleled Broadway icon status. Andrew Barth Feldman of “Dear Evan Hansen” fame honors the humble ingenuity of Linguini.

The musical is recognized but not endorsed by Disney, and it holds a special place in the heart of Gen Z for many reasons. The theme song, “Le Festin,” became a popular trend on the app in January 2020, and Ratatouille re-entered the spotlight across the country. Plus, who could forget that iconic strawberry-plus-cheese combo scene? The musical adaptation is a quirky homage to the Disney original motion picture.

All composers, actors and production workers received compensation for the musical. Everything, from the audio clip at the opening of the show to the  choreography to the official Playbill design, somehow found its start on TikTok.

The musical opens with the original audio clip that started it all: Emily Jacobsen’s very own “Remy the Ratatouille/ the rat of all our dreams / I praise you, oh ratatouille / may the world remember your name,” followed by a smooth audio transfer to a full orchestra and clips of viral TikTokers with the same audio.

“Ratatouille The Tik Tok musical” celebrates theater for exactly what it is: a little bit “out there,” full of heart and ever-changing. After being stripped of the lights, thunderous applause and towering budgets, what remains is the spirit of theater and the joy of performance. In the words of Burgess’ Remy: “They imagine; they create; they create new paths when the old ones are shut down.” When Broadway returns, there’s no doubt it will be unlike anything we’ve seen before.