30 years after the nightmare vision of a live-action adaptation, the world’s most popular video game franchise finds new cinematic life through Illumination with The Super Mario Bros. Movie. As bright and cheery as 1993’s Super Mario Bros. was dank and enigmatic, this franchise kick-starter is designed to appeal to both those who have logged hundreds of hours playing Mario games and those who are discovering this world for the first time. With a simple story and cursory characterizations, it’s also a film that’s meant to be extremely palatable to all age groups, much like other Illumination series from Despicable Me to The Secret Life of Pets. But there’s so much care and craft that’s gone into the visual design and musical score alone that it’s difficult not to get swept up into the magic emanating from this charming crowd-pleaser.

Living in modern-day Brooklyn, brothers Mario (Chris Pratt) and Luigi (Charlie Day) are doing what they can to get their fledgling plumbing business off the ground before it goes down the tubes. After seeing a massive mid-city manhole leak on the news, Mario convinces Luigi that they’re the ones who can fix it but as they make their way underground towards the deluge, the brothers get sucked into a large pipe. They get split up to two different areas of a magical world, brave Mario in the vibrant Mushroom Kingdom and timid Luigi in the ominous Dark Lands. Luigi is summarily captured by King Bowser (Jack Black) and his army of turtle-like Koopa soldiers, while Mario calls upon Princess Peach (Anya Taylor-Joy) for help in getting he and his brother back home to Brooklyn. Along the way, Mario and Peach recruit the mighty ape Donkey Kong (Seth Rogen) from the Jungle Kingdom in their quest to defeat Bowser.

The most striking aspect of The Super Mario Bros. Movie is not only the bright and stunning animation but how it’s used to create these distinctive areas of this enchanting world. Obviously there are numerous sprawling Mario games from which to draw upon when designing these settings but co-directors Aaron Horvath and Michael Jelenic focus these influences for one all-encompassing narrative. In a couple key sequences, they cleverly recreate the 2D side-scrolling nature of the early Mario games and repurpose the light-up blocks and obstacles as part of a Mushroom Kingdom training course. Naturally, there are innumerable references to platform game mainstays like the Fire Flower and Piranha Plants that even those who have never played the games will likely still recognize.

The music of Mario by Koji Kondo is another cultural touchstone that one doesn’t need to be a gamer to recognize and composer Brian Tyler beautifully weaves in leitmotifs from various Mario games throughout the years. In a moment of scheming, Bowser and his adviser Kamek sit together at the piano to duet the “Underworld Theme”, followed by Bowser crooning a hilariously overwrought new song “Peaches”. Aside from the Kondo music and the original tunes, The Super Mario Bros. Movie also includes some needle drops that aren’t unexpected from an Illumination entertainment but not really necessary either. Between this, the comparatively duller video game-related Tetris and the Shazam sequel, this is the third new release I’ve seen in the past few weeks that interpolates Bonnie Tyler’s “Holding Out For A Hero.” I can only be grateful it wasn’t in Air as well.

The voice cast isn’t filled with the most inspired choices for every role but the performers do what they need to in order to make the characters feel like they’re sharing this world together. Jack Black brings some heavy metal gusto to his put-upon Bowser that makes him alternately menacing and pathetic, depending on the scene. Charlie Day hits his high register for the perpetually nervous Luigi and Chris Pratt brings an easy confidence to his aplomb older brother. There’s a joke early on about the stereotypical Italian dialects that Pratt and Day chose not to lean on while voicing their characters and where the duo ended up tonally suits the movie just fine. Hopefully the inevitable sequels will get more ambitious with casting and plot but as a visually and sonic spectacle, The Super Mario Bros. Movie is an accomplished first level that will no doubt have audiences pining for the next one.

Score – 3.5/5

New movies coming to theaters this weekend:
Renfield, starring Nicholas Hoult and Nicolas Cage, is a horror comedy about Dracula’s beleaguered servant and sidekick, who yearns to get out from under the thumb of his vampiric boss and the bloodshed that his lifestyle seems to accrue.
The Pope’s Exorcist, starring Russell Crowe and Daniel Zovatto, is a supernatural horror film following the chief exorcist of the Vatican as he investigates a young boy’s terrifying possession and ends up uncovering a centuries-old conspiracy in the process.
Sweetwater, starring Everett Osborne and Cary Elwes, is a sports biopic covering the life and career of Hall of Fame basketball player Nat “Sweetwater” Clifton, who made history as the first African American to sign an NBA contract.

Reprinted by permission of Whatzup

Let’s start with a confession: I was wrong about 2019’s Shazam! After rewatching the movie this past weekend, I stand by some of the quibbles from my original 2/5 review — the villain is dopey and it strains too hard for earnestness — but I also admit that it works more than it doesn’t. Especially in comparison to its new sequel Shazam! Fury of the Gods, the original film has loads more personality and intention than I initially recognized. Though it carries over a few elements that made its predecessor a success with critics and audiences, this new chapter is otherwise about as undercooked and generic as a superhero movie could be. Perhaps in four years time, I’ll look back and find that I’m wrong about this entry too but my confidence in my current assessment is sky high.

Shazam! Fury of the Gods begins with an all-too-familiar prologue, where a shadowy new villain pops up and causes chaos in an unsuspecting crowd. In this case, it’s Atlas daughters Hespera (Helen Mirren) and Kalypso (Lucy Liu) breaking into a Greek museum and stealing the broken magic staff discarded in the first Shazam! We’re then reintroduced to Billy Batson (Asher Angel) and the rest of his foster siblings, who all now have Shazam-like counterparts that allow them to fight crime all around their hometown of Philadelphia. When the daughters of Atlas kidnap family member Freddy Freeman (Jack Dylan Grazer), the rest of the “Shazamily” must rescue him and stop the daughters before their plan to terraform the Earth comes into fruition.

As you may get the sense from that description, Fury of the Gods is mostly a hodgepodge of other superhero movies; there’s some Man Of Steel, some Thor: Love and Thunder and they even lift a doctor bit from Forgetting Sarah Marshall for good measure. West Side Story breakout Rachel Zegler’s Anthea rounds out a trio of villains who are about as lifeless as Mark Strong’s Dr. Sivana was in the first Shazam! with much more scattershot accents. Mirren does her standard British, Zegler does standard American and Liu alternates between the two, sometimes within the same scene. Both the limitations of their superpowers and the details of their evil plan are vague and confusing. It seems like they should have the upper hand just about the entire time but they get hoodwinked by the Shazam crew in the most facile and unclever ways.

The driving force behind the first Shazam! was the performance of Zachary Levi as the “Shazamed” version of Billy Batson and its sequel continues to score some laughs out of the body swap premise where an adult acts like a teenager. In fact, Asher Angel isn’t in the film much at all, leaving Levi to turn his juvenile mugging and quippy line reads up to 11 throughout the entire movie. He’s doing his best but the material simply isn’t here for him this time around and the gimmick was already utilized so thoroughly in the first entry. There’s the occasional bit that lands — Mirren reciting a poorly-dictated note from the “Shazamily” got a couple chuckles from me — but it feels like Fury of the Gods makes much more time for murky mythology than it does for comedy.

Due to the constantly changing nature of the DC Extended Universe, every new entry seems to prompt the question “where do they go from here?” There are three new movies planned for release this year — The Flash is up next in June — and then the whole franchise is set to be rebooted with the James Gunn-led Superman: Legacy in 2025. It’s hard to know how the Shazam characters will factor into either of those universes and it’s possible that Fury of the Gods is the last Shazam! film that we’ll see for quite some time, if not ever. Frankly, the DCEU is a mess as it is right now and a fresh start will hopefully give this sector of comic book movies a renewed sense of entertainment and purpose. Until then, Shazam! Fury of the Gods is a placeholder that only the most ardent of superfans should indulge.

Score – 2/5

New movies coming this weekend:
Playing only in theaters is John Wick: Chapter 4, an actioner starring Keanu Reeves and the very recently departed Lance Reddick which continues the saga of the titular assassin as he faces a new enemy with powerful alliances across the globe and forces that turn old friends into foes.
Streaming on Amazon Prime is Reggie, a documentary covering baseball megastar Reggie Jackson as he contemplates his legacy as one of the first iconic black athletes, a pioneer in the fight for dignity, respect, and a seat at the table.
Premiering on Netflix is Furies, a Vietnamese action prequel to 2019’s Furie starring Veronica Ngo and Dong Anh Quynh about a mysterious woman who trains a trio of girls to take revenge on a criminal gang.

Reprinted by permission of Whatzup

1968 saw the release of The Boston Strangler, a crime film loosely based on the real-life serial killer at the center of 13 still-unresolved slayings earlier that same decade. The notion of producing a movie so close to real events that were still under investigation divided audiences and critics alike; Roger Ebert opined, “This film, which was made so well, should not have been made at all.” Decades after the events, we now have Boston Strangler, a much more level-headed procedural about the pair of intrepid reporters who initially connected the murders. But just because this is more responsible in how it depicts the case doesn’t mean it’s not engrossing on its own terms. Like Zodiac, another quietly terrifying film about an unsolved murder spree in the 1960s, this movie gets us thoroughly involved with the characters first before the mystery takes hold.

Keira Knightley stars as Loretta McLaughlin, a columnist for the Boston Record American who is limited to covering “lifestyle topics” that her snippy editor Jack MacLaine (Chris Cooper) thinks would interest bored housewives. Eager to move beyond reviewing the latest toaster from Sunbeam, she bends the ear of fellow reporter Jean Cole (Carrie Coon) to figure out how she is able to tackle more meaningful subjects. Spotting a similarity between two murders within the same month, McLaughlin senses a pattern emerging and uses her newspaper credentials to lean on the police for information. After more elderly women in the area are strangled, McLaughlin recruits Cole to develop coverage around the elusive figure they dub the “Boston Phantom”, even while doing so puts their lives at risk.

Writer/director Matt Ruskin has a few projects under his belt, most recently before this with 2017 crime drama Crown Heights, but Boston Strangler seems to be the biggest productions he’s led so far. His latest effort has the sort of formal rigor that you’d want from a film about people working hard to put an end to a killing spree. It’s handsomely shot, it’s tightly edited and it packs plenty of subtext into the serial killer tale we’ve seen quite often in the past. The sexism of the era factors heavily into how McLaughlin and Cole were able to pursue the assignment in the first place and also informs the dismissive treatment they often received from law enforcement. Last year’s She Said, which also featured two reporters investigating a major story, deals with modern-day sexual politics much more bluntly but serves as a fitting companion piece about rising above implicit and explicit gender discrimination.

Through voiceover narration, Boston Strangler wisely includes excerpts from articles that McLaughlin actually wrote to convey the progression of the breaking news. Not only was she a groundbreaking journalist but she was also a compelling storyteller, crafting prose that was true to the facts while also being effortlessly absorbing at the same time. Ruskin goes for a similar approach, responsibly relaying an impressive amount of detail around the murders while including flavor about the toll that chasing this killer had on those doing the chasing. A pair of nicely juxtaposed scenes set outside of different residences suggest that as McLaughlin gazes into the abyss, the abyss gazes back into her.

Though Knightley is a fine lead, it’s a bit curious that she goes with a more “standard” American dialect as opposed to the Boston accent that Woburn native McLaughlin likely had. While I wasn’t expecting a full-on The Departed level of “r-dropping”, other ensemble players like Alessandro Nivola and Bill Camp at least try to evoke the region’s dialect in their performances. Regardless, Ruskin gets fine work out of his cast overall and does everything he can to make this true story register with his audience. As Boston-set journalism movies go, Boston Strangler isn’t quite on the level of Spotlight but it gets much closer than you may expect from a direct-to-streaming thriller.

Score – 3.5/5

More movies coming this weekend:
Playing only in theaters is Shazam! Fury of the Gods, a superhero sequel starring Zachary Levi and Helen Mirren which continues the story of a teenager and his foster siblings who must transform into their superpowered adult alter egos to fight the Daughters of Atlas.
Streaming on Netflix is The Magician’s Elephant, an animated family film starring Noah Jupe and Mandy Patinkin following a boy on the search for his long-lost sister with the help of a mysterious elephant and the magician who will conjure it.
Streaming on MGM+ is There’s Something Wrong With The Children, a horror movie starring Alisha Wainwright and Zach Gilford about a couple who takes a weekend trip with longtime friends and their two young kids, the latter of whom begin to behave strangely after disappearing into the woods overnight.

Reprinted by permission of Whatzup

Australian actress Frances O’Connor makes both her directorial and writing debut with Emily, a pseudo-biopic about revered writer Emily Brontë that intentionally fudges the facts surrounding the 19th century author. Though her lone novel Wuthering Heights is widely regarded as a literary classic, details of Brontë’s personal life weren’t especially well-documented before her untimely death at the age of 30. That means making her the subject of a biographical drama calls for inferences to be drawn from what is written about Brontë and for extrapolations to be rendered under artistic license. I’m neither an English nor a history major, so I didn’t go into this movie expecting to pick it apart for accuracy but simply to get the sense of how this reclusive young woman concocted such a galvanizing piece of literature seemingly out of nowhere. What I got was a bundle of period piece clichés and a story that always seems at odds with itself.

We meet Emily Brontë (Emma Mackey) on what seems to be her deathbed, with sister and fellow writer Charlotte (Alexandra Dowling) trying to get answers before it’s too late about how she conceived of Wuthering Heights. We’re taken back years in Emily’s life to her 20s, where she fosters a relationship with her other sister Anne (Amelia Gething) and gets into trouble with her brother Branwell (Fionn Whitehead) while Charlotte is away at school. One day, handsome clergyman William Weightman (Oliver Jackson-Cohen) joins her father’s parsonage as a curate and begins teaching French to Emily. There doesn’t seem to be much of a spark between the two at the outset but over the course of their lessons, an affection develops between Emily and William. Due to the latter’s position in the church, a relationship would be potentially deemed scandalous and must be kept a secret from friends and family.

The largest miscalculation O’Connor makes in Emily is laboring under the regressive notion that the audience will only be interested in Brontë’s life if she has an attachment to a fetching suitor. There’s more than enough at the edges of this rote romance involving Emily’s family life to justify a story solely about them rather than shoehorning in a man about whom very little is known. Although Emily’s sisters don’t get nearly enough screen time to develop their characters and define their influence on her life, Branwell factors into the storyline and his kinship with Emily serves as the film’s sole instances of insight into Emily’s character. I can’t imagine this was O’Connor’s intent but I half-wondered if she was steering us towards a love triangle between William and Branwell; after all, Emily has practically no chemistry with William, while Branwell seems to invigorate her spiritually and creatively.

Mackey and Whitehead make the most of their scenes together, tapping into a mutual mischievous streak that infuses this otherwise murky and morose tale with some much-needed personality. The film’s best scenes are in their minute moments of bonding, whether they’re spinning around the lush countryside in an opium-tinged splendor or heckling William with bleating noises during one of his sermons. Emily’s terse interactions with Charlotte and genial exchanges with Anne are breadcrumbed throughout the narrative but there’s no good reason for these notable figures to be as sidelined as they are. Jackson-Cohen is positively a bore as the staid hunk with whom Emily inexplicably falls in love; though his character here isn’t nearly as monstrous as the one he played in The Invisible Man, he’s just as imperceptible (albeit for a different reason).

While Emily is an easy enough film to take in aesthetically, O’Connor stumbles when it comes to finding its central message. Too often, she relies on montages that don’t convey much meaningful information and are pedestrian in terms of visual storytelling. Abel Korzeniowski’s musical score swells, time speeds up but not much of an impression is ultimately left from these sequences. O’Connor also traffics in some pretty dodgy banalities that tend to plague this genre; characters run around in the rain so often in this film that I started to subconsciously beg them to stay inside. Elsewhere, she attempts to incorporate other genres, as with an awkward and mean-spirited seance scene that briefly indulges the supernatural but doesn’t tie back to the plot later on. A more honest inquisition into the life of this solitary novelist would hold true cultural value but Emily too often takes the easy way out.

Score – 2/5

New movies coming this weekend:
Coming only to theaters is Creed III, a sports drama starring Michael B. Jordan and Jonathan Majors following the titular heavyweight as he dukes it out with a childhood friend-turned-foe who resurfaces after serving a long sentence in prison.
Also playing only in theaters is Operation Fortune: Ruse de Guerre, a spy action comedy starring Jason Statham and Aubrey Plaza involving a team of special agents who recruit one of Hollywood’s biggest movie stars to help them on an undercover mission.
Available to rent is Palm Trees and Power Lines, a coming-of-age drama starring Lily McInerny and Jonathan Tucker about a disconnected teenage girl whose relationship with an older man starts out promisingly but gets more complicated over time.

Reprinted by permission of Whatzup

Phase Five of the Marvel Cinematic Universe gets off to a fun start with Ant-Man And The Wasp: Quantumania, the third and likely final standalone movie for the other Avenger named after an insect who’s not Spider-Man. The first two entries seemed to be self-aware of the fact that Ant-Man is not the most impactful Marvel hero out there and as such, the stakes were appropriately low compared to the galaxy-level consequences of the Avengers movies. These days, I tend to tire from the humongous scale of the larger superhero epics and prefer the “smaller” stories but the first two Ant-Man films always felt too insignificant to leave an impression. Quantumania is unquestionably on a much bigger stage, tasked with building a world we’ve only seen glimpses of in previous MCU fare while also setting up the new big bad for the next batch of Marvel projects. It turns out that the little guy is up to the task.

We’re reintroduced to Scott Lang/Ant-Man (Paul Rudd) as he adjusts to life as a celebrity after his substantial contribution to reversing the Blip in Avengers: Endgame. His now-teenage daughter Cassie (Kathryn Newton) is also trying to find her way, dabbling with activism and quantum physics on top of her regular school life. The latter hobby leads her to create a sort of GPS for the Quantum Realm, allowing her to explore the area without actually going there. When Scott’s girlfriend Hope/Wasp (Evangeline Lilly) and her parents Hank (Michael Douglas) and Janet (Michelle Pfeiffer) observe Cassie’s new invention, all five members of the family are sucked into a portal from the satellite and are transported to the Quantum Realm. Separated during their trip, Scott and Cassie must reunite with Hope and her parents to get back home while avoiding an all-powerful adversary in the process.

One area where Black Panther: Wakanda Forever, the most recent MCU movie before Quantumania, struggled was in building a compelling new setting by way of the murky underwater city of Talokan. The Quantum Realm has been seen briefly in the first Ant-Man as something of a cosmic purgatory where Scott lingered for a moment of peril but in this sequel, we get to see much more of the universe. That gives way for some vivid new locations to be unveiled and plenty of neat creature design to fill the always-busy frame. We meet all sorts of strange characters, like a telepath whose head glows when he gets inbound thought messages from others and a Kirby-like slime being whose ooze can be ingested to allow outsiders to understand Quantum Realm languages. There’s even a talking broccoli, though he’s sadly not voiced by Dana Carvey.

The antagonist of Quantumania was first introduced in the finale of Loki, a TV series that I would consider a prerequisite going into this latest MCU movie, as the variant He Who Remains. For the first hour of Quantumania, he could be called He Who Remains Nameless, as the movie always seems to cut away from any character right before they say his name. Eventually we find out: it’s Kang The Conqueror, a Multiverse-hopping tyrant played with prestige and menace by Jonathan Majors. Unlike Thanos, whose appearances leading up to Avengers: Infinity War were relegated to brief scenes and post-credit teasers, Kevin Feige and his team at Marvel Studios are showing us more of this supervillain up front before his inevitable clash with the Avengers. This is an auspicious start for Majors in these MCU films and I’m looking forward to seeing how his character develops over time, so to speak.

My Quantumania quibbles aren’t much different than the ones I tend to have with the rest of these movies. The lighting, especially in close-up, is inconsistent, the editing is incoherent at times and unlike the MCU output from last year, the third act is back to generally being a blur of clunky CGI action. But fans of the series likely won’t mind much of this because it’s potentially irrelevant to their experience and they aren’t new issues anyway. For me, this is the best of the three Ant-Man standalones because it finds new ways to flesh out this character — there’s a visual motif during a “probability storm” sequence that brought this home for me — in unpredictable ways. As a trilogy capper, Ant-Man And The Wasp: Quantumania sends the underdog hero out on a high note and sets up as many future adventures as the box office can justify.

Score – 3.5/5

New movies coming this weekend:
Playing only in theaters is Cocaine Bear, an action comedy starring Keri Russell and O’Shea Jackson Jr. based on the true story of a bear who goes on a killing rampage in a small Georgia town after ingesting a duffel bag full of cocaine.
Also coming only to theaters is Jesus Revolution, a faith-based drama starring Joel Courtney and Jonathan Roumie covering the true story of a national spiritual awakening in the early 1970s and its origins within a community of teenage hippies in Southern California.
Streaming on Netflix is We Have A Ghost, a family horror comedy starring David Harbour and Anthony Mackie about a family who finds a ghost named Ernest haunting their new home and turns him into an overnight social media sensation.

Reprinted by permission of Whatzup

Due to the overwhelming popularity of The Sixth Sense and Unbreakable, M. Night Shyamalan has been pigeonholed as a director whose films always have a twist ending. While some of his movies after those two initial breakouts have indeed had third act rug-pulls, the majority of his work tends to be based on an elevator pitch of an idea that begs resolution. The Happening‘s was “why are people spontaneously killing themselves?” Old‘s was “what’s going on with this beach?” After Earth‘s was “who told Shyamalan it was a good idea to make this movie?” His latest high concept contraption, Knock At The Cabin, sports another tantalizing quandary but instead of the open-ended mystery that Shyamalan typically favors, there are really only one of two possible general resolutions for this specific gambit.

The story is set around a family of three — fathers Eric (Jonathan Groff) and Andrew (Ben Aldridge), along with their seven-year-old daughter Wen (Kristen Cui) — as they vacation at a secluded cabin in the woods. While collecting grasshoppers, Wen is approached outside the cabin by Leonard (Dave Bautista), a hulking second grade teacher who exchanges questions with her. Things get more ominous when three others in Leonard’s group — Sabrina (Nikki Amuka-Bird), Adriane (Abby Quinn) and Redmond (Rupert Grint) — also emerge from the woods brandishing makeshift weapons. Wen runs inside to warn her dads of the approaching quarrelsome quartet, who force their way into the cabin after a struggle and make a severe claim: that one of the three family members must willingly sacrifice themselves in order to prevent a closely impending apocalypse.

It would stand to reason that the rest of Knock At The Cabin from that point on would be a psychological thriller, wherein the family being held hostage would engage in a battle of wits with the interlopers to gain the upper hand. But that’s already making the assumption that the invaders are incorrect and misguided in their conviction that the world will end very soon if this sacrificial act isn’t carried out. Shyamalan instead spends most of the running time setting up a binary equation where we won’t know whether or not the apocalyptic premonitions are founded until the very end of the movie. Not only does this limit the scope and impact of the inevitable conclusion but it makes the preceding events more redundant than they needed to be. Leonard poses the question “will you make a choice?” to the family repetitively and takes action when they routinely refuse to commit the necessary penance; in the immortal words of Rush: “if you choose not to decide, you still have made a choice.”

After Old, Knock At The Cabin is the second movie in a row that Shyamalan has adapted from existing source material; this time, he’s recruited co-writers Steve Desmond and Michael Sherman to bring Paul G. Tremblay’s novel The Cabin at the End of the World to the screen. While Old was seemingly affected by the fact that it was shot during the COVID-19 pandemic, with unappealing cinematography and awkward editing that tried to disguise that the actors weren’t on set at the same time, Shyamalan’s latest effort isn’t marred by the same issues. The camerawork by Jarin Blaschke and Lowell A. Meyer has some flashy tricks up its sleeve but mainly settles for a handsome yet foreboding palette upon which these characters can express their anxieties and intentions. A few sequences, like one in which two characters struggle for a gun in a thumbprint-locked safe, crackle with an energy that isn’t sustained throughout the movie.

Bautista continues a streak of acting wins following last year’s Glass Onion and a smaller part in Dune: Part One that will likely be expanded in Dune: Part Two later this year. As the main spokesman for the four antagonists, he proves that he has the dramatic chops to lead an ensemble chamber piece like this. As with other wrestlers-turned-actors, filmmakers have learned how to use his oversized frame to their advantage. Leonard is positioned as a gentle giant whose hand is forced by supernatural circumstances; in his introductory scene with Wen, the pair even take turns plucking flower petals to invite allusions to Frankenstein. Shyamalan is able to create suspense for a few minutes at a time but the longer Knock At The Cabin goes on, the more obvious it becomes that he loses sight of the story that he ultimately wants to tell.

Score – 2/5

New movies coming this weekend:
Coming only to theaters is Magic Mike’s Last Dance, the conclusion to the Magic Mike trilogy starring Channing Tatum and Salma Hayek Pinault following the titular male stripper as he heads to London with a wealthy socialite who lures him with the offer of a lifetime.
Streaming on Amazon is Somebody I Used To Know, a romantic comedy starring Alison Brie and Jay Ellis about a workaholic whose trip to her hometown reunites her with an ex-boyfriend and finds her meeting a young woman who reminds her of the person she used to be.
Premiering on Netflix is Your Place Or Mine, another romantic comedy starring Reese Witherspoon and Ashton Kutcher about a man who looks after the teenage son of his best friend while she pursues a lifelong dream as they swap houses for one life-changing week.

Reprinted by permission of Whatzup