The Drama (2026)

Emma and Charlie are about a week out from their wedding when they're swapping "what's the worst thing you've ever done" stories with their friends. Emma's answer sends her maid of honor into a rage and Charlie into a tailspin. 

This really worked for me, mostly because it felt so original. Where do we draw the line? Why do we struggle so much with extending second chances in real life while giving it freely in the abstract to ex-convicts, etc.? But, if nothing else, this works as a screed against big weddings -- so many moving parts and so much expense means that postponing or calling it off becomes nearly impossible.

B+

The Drowning Pool (1975)

This is the follow-up to Harper (a movie I really liked), with Paul Newman reprising the titular P.I. Though there are flashes of wit early on, the movie settles into a series of scenes featuring Harper chasing down (or being dragged to) yet another lowlife with another bit of information that may or may not be useful.

Meandering, confusing, and ugly. Also, Melanie Griffith as a nymphet ups the "yuck" factor.

C-

Boy A (2008)

"Jack" has served his time for a violent crime committed when he was a child and, with the help of his case worker, he's got a place to live and a job lined up. Though he's eager to start his new life, his inexperience with the outside world and concern that he could be recognized result in an attitude of shy nervousness. He luckily gets paired at work with Chris, who surprises with his familiar yet empathetic nature. 

Meanwhile, we're getting flashbacks of Jack's lonely childhood. When he finally makes a friend, we understand how much of a lifeline that would've been for him -- how one other kid can become your whole world because they're the only one who knows you at all. In the company of friends, walking away from an obviously bad situation can feel like abandonment.

Andrew Garfield was quite good as Jack, but it's Peter Mullan as the case-worker and Shaun Evans as Chris who really make the story. They are the ones who allow us to have sky-high hopes for Jack because they support him, which is really what each of us needs to flourish.

B

Crimes and Misdemeanors (1989)

In my opinion, this is one of Woody Allen's best screenplays, with only The Purple Rose of Cairo topping it. We follow several different romantic relationships in various states: a marriage that has devolved into more of a roommate situation, a mistress fed-up with being strung along by her successful married lover, and a blossoming romance between kindred spirits. 

For the most part, the script is insightful and warm, but with an undercurrent of tension and some healthy introspection. Landau is the standout here, forcing us to experience his anguish and fears along with him. Allen's character is the only one that doesn't come off as 100% authentic, but his professional self-sabotage still makes for a very funny storyline.

A

Burn, Witch, Burn (1962)

A popular professor is on the fast-track to promotion when he discovers that his wife has been practicing witchcraft for years. Despite her protestations that continued protection is necessary to combat others' spells against him, he insists that they rid themselves of that ridiculousness. He finds out soon enough that his wife might not be as delusional as he thought.

The acting is strong and it's fairly effective, but I mostly was annoyed at the misogyny of this man dismissing his loyal wife's fears as silliness.

C+