Only Murders in the Building is a hilarious and sharp Murder mystery that will have you on the edges of your seats laughing and shocked with plenty of reveals and surprises. It embarks on exactly what viewers are looking for in a suspenseful, comical mystery, which makes it more compelling to watch, especially with It’s star studded cast of characters.
Neighbours Charles (Steve Martin), Oliver (Martin Short) and Mabel (Selena Gomez) live at the Arconia, an Upper West Side apartment building. However after being evacuated from their apartments they bond over dinner and discover each have a shared love of true crime, especially the podcast “All Is Not Ok In Oklahoma”. So when a fellow resident named Tim Kono (Julian Cihi) dies in their building a seismic shift occurs and the trio are determined to solve the mystery whilst recording an accompanying podcast (also named Only Murders In The Building).
This Podcast is truly an integral part of the overall storyline as it seems to shape directions of their investigation in unexpected ways. This Murder mystery feels like a vehicle which is moving more towards a character-driven story, especially when there’s plenty of residents keeping secrets. Though deep down the first two episodes that are available on Disney Plus Star in the UK show that Charles, Oliver and especially Mabel are hiding secrets themselves.
The show reunites beloved iconic comedians Steve Martin, Martin Short, who team up with Selena Gomez as the three neighbours brought together by the murder of their fellow tenant. Each brought different skillsets to the case and the series gives a good look into their backstories.
I especially loved that each characters apartment reflected their personalities, the interior of the Arconia building is absolutely gorgeous. Steve Martin’s character Charles is a former television star, so his apartment seems to be stuck in the past. He made lots of money and has consistently updated his apartment with modern art pieces. Oliver’s (Martin short) apartment truly displays a career of glory but also failure as a theatre director. His apartment is a little overdone and lavishly luxurious. The apartment even included a grand dining room.
There is a real sweetness to these character interactions, especially with Charles and Mabel. Who is a twenty something with plenty of dry wit and a home renovation on her hands. Martin and Short are absolutely fantastic and it was great to see Selena’s return to tv in a great way. Her opening scene definitely foreshadows the unexpected but thrilling direction the series is taking as we get to know Mabel a bit more including her close circle of friends.
Especially in episode two when these three neighbours begin to research more about the victim, especially when Mabel’s secret past starts to unravel.
In the End, ‘Only Murders In The Building’ episodes one and two take the idea of a whodunnit? and reinvent the mystery in a thrilling, suspenseful comical way. All these aspects add to the appeal of the show and will certainly make you get your detective cap on and join in this Manhattan Murder Mystery. I can’t wait to see where Episode three takes us next week.
Sex Appeal Review | An Interesting Enough Premise Gets Squandered in Predictable Platitudes
A quasi-R-rated version of “The Kissing Booth” surprisingly works? Color me shocked.
In a world filled with horrible teen coming-of-age comedies which re-tread John Hughes and other popular 80s comedies, Hulu’s Sex Appeal probably wouldn’t have worked. As it stands, the movie is interesting enough to make a distracting impression upon ourselves, but it’s nowhere near as sharply written as any of the mid-1980s/late-1990s coming-of-age comedies it keeps referencing.
In any case, the best comparison I can give you is that its plot feels eerily (though not completely) similar to Netflix’s The Kissing Booth trilogy, though without any of the cringe and a legitimately compelling “best-friends” relationship. The “best friends” in question are Avery (Mika Abdalla) and Larson (Jake Short), who have had a close-knit relationship since childhood…until Larson decided to “make a move” at the age of 14, immediately rejected by Avery. Our female protagonist narrates the entire story like Joey King’s Elle Evans in The Kissing Booth and has a pretty narrow-minded view of everyone and everything. Basically, she only cares about herself. Avery will register for STEMCON, an annual youth scientist (?) convention, to which attendees will have to build an app that responds to their personal problems.
Avery’s “problem” is that she can’t have fulfilling sex with anyone and forcefully takes Larson as her Guinea Pig to experiment with diverse types of sex on him and her, to which we metaphorically see what happens inside IMAX-like dream sequences. A plot as preposterous as this shouldn’t work, but it kinda does. Of course, it’s a story we’ve all seen before, with the egotistical female character going on a journey of self-discovery and finally realizing that life doesn’t solely revolve around her, and that humans have feelings. By developing the app, she fails to realize the most important human element of all, love, because Avery is incapable of feeling love…until her experiment gets her to realize what love is and how it feels.
Yes, director Talia Osteen and co-writer Tate Hanyok use sex as the driving force for Avery’s realization that her app should be all about love, and not all about sex. And she’ll learn this by having sex with someone she genuinely cares about but doesn’t want to admit that she has feelings for. Why? Because she had to focus on her studies? That feels like such a BS excuse, but the plot warrants it anyways. So yeah, once you get a gist of Avery and Larson’s “friendship that morphs into a quasi-relationship”, you can tell exactly where this movie is going, without fail. She has a non-existent relationship with her boyfriend (Mason Versaw), and can’t even feel love even if she also uses the app with him as they do it. Doesn’t she know what love is, or is she incapable of feeling it because she doesn’t want to? This is the central question Sex Appeal asks, and it surprisingly works twofold.
Firstly, the chemistry between Abdalla and Short is insanely palpable. In The Kissing Booth, the movie already doesn’t work because the chemistry between Joey King/Jacob Elordi/Joel Courtney feels unbelievable like they all belong in different movies (the writing is also a problem, but whatever). You can relate to Avery and Larson because their relationship feels real. And so it’s easier to get on board with an insanely predictable story if the acting holds the fort, to which it does greatly. Even the smallest supporting roles can bring surprising laughs to the mix, and genuine heart, which this movie has tons of. Its heart is in the right place, and the acting is decent enough for you to care about the characters’ plight, even if we’ve seen it all before.
Secondly, the film’s aesthetic is original enough for the movie to rise above the platitudes it presents in its script for metaphorical sex sequences that are way more interesting than, say, if Avery and Larson solely had sex. Osteen prefers to open up the 2.39:1 frame to 1.90:1 during these dreamlike sequences to represent how Avery feels during the time she “experiments” on Larson, which ultimately makes her realize all the love she has for him, especially when she tries to do the same thing with Casper (Versaw) and, lo and behold, it doesn’t work. I appreciate the work of filmmakers who try different things than the usual paint-by-numbers coming-of-age sex comedy, without an ounce of creativity in its filmic representation of a protagonist’s state of mind, especially when it works, even if it may be on the nose for some. Sure it is, but it works nonetheless.
So it’s surprising to see how engaging the movie is when the acting and the aesthetic work together and actually deliver a pretty good time at the movies, even if it’s a movie that we’ve seen before, done better. Where Sex Appeal fails in its story, it more than makes up for it through its creative aesthetics and terrific performances from Mika Abdalla and Jake Short, which in turn makes it a rather transfixing watch. It’s not the greatest movie in the world, sure, but it does its job right and the film’s heart is in the right place. What more can you ask for?
Sex Appeal is now streaming on Hulu.
And Just Like That… Review: HBO Max’s Sex and the City Revival
We hope you like your cosmos with a side of drama as “And Just Like That..” has officially dropped onto HBO Max in the States and onto Sky TV and NOW in the United Kingdom,
Are you ready for the next Chapter of Sex and the City!.
This chapter follows Carrie (Sarah Jessica Parker), Miranda (Cynthia Nixon) and Charlotte (Kristin Davis) as they navigate the journey from the complicated reality of life and friendship in their 30s to the even more complicated reality of life and friendship in their 50s.
The first two episodes “Hello It’s Me and “Little Black Dress” are now streaming on your countries chosen platform and from the start this HBO Max Original has done a decent and glamorous job of brining Sex and the City into the modern era, as the series is infused with a new familiar story, but is very much rooted in the classic SATC. It’s diverse and features a social/Cultural awareness especially with the use of instagram, podcasts, and a nod to this pandemic as the iconic trio talk about their time with their husbands during lockdown and the new hobbies and traditions they started that seem to have stuck with them.
Thursday’s premiere truly catches us up with old friends in post-pandemic New York as they wait for a table at a crowded restaurant. All are navigating through their fifties as this new chapter of their lives explore and deal with grief, journey, friendships and the pressure of perfection to achieve career wise, whilst entering a new territory.
It was nice to spend time this morning with Carrie, Charlotte and Miranda again. The actresses Sarah Jessica Parker, Kristin Davis, and Cynthia Nixon truly step right back into their roles and their banter is just as quippy as ever, However “And Just Like that…” gets off to a dramatic end as we’re guided through a catch up which was necessary to pick up a story many years later after it ended. What was introduced during 1998-2004 was a newfound love and obsession with cosmopolitan cocktails, designer shoes and brunches is still featured but the sparkly fizziness from the original is absent and what follows is a much more mature self aware series.
Notably absent from the series is Kim Cattrall’s fabulous Samantha who SPOILER ALERT has moved to the UK for work as Miranda confirms to their friend Bitsy, that no Samantha isn’t dead, the publicist has just moved overseas. From the get-go her absence seems to be part of the shows overall storyline as it showcases female friendships and the including that they don’t always last forever.
But just as people leave in real life, new friendships start as “And just Like That…” introduces us to a host of new characters who fit perfectly into this world, We meet Charlotte’s mum friend Lisa (Nicole Ari Parker), Miranda’s law professor Nya (Karen Pittman and Carrie’s queer podcast host Che (Sara Ramiez).
With introducing new characters, the series also gives us a reunion with returning characters we know and love, especially the beloved and iconic Stanford a delightful role played by the late Willie Garson and his fiery fierce husband Anthony (Mario Cantone) who try to put a fight behind them by embracing and acknowledging how lucky they are to have each other.
Carrie the former newspaper sex columnist is now a social media connoisseur and professional podcaster. She and Big (Chris Noth) are having a loved-up experience complete with wine, record player, Peloton, and Carrie’s extensive walk-in wardrobe. She’s posting New York fashion onto her Instagram and contributes to a sex and relationships podcast.
Attorney Miranda is going back to school to become a human rights advocate, Miranda has her own awkward moment at her first day in class and dabbles with alcohol dependency. She’s constantly all over herself not to appear racist. Though she also has to deal with her sexually active son. also returning is Steve Brady, Miranda’s on-again, off-again boyfriend, by whom she becomes pregnant with their son.
Charlotte is still Charlotte in “And Just Like That..” she’s prim and proper with daughters Lily (Cathy Ang) an overachiever and Rose (Alexa Swinton) more rebellious and failing to conform with her mothers brand of femininity. She’s also examining the last decade and a half of leaning into motherhood.
The show still features its iconic humour and this new chapter certainly has potential to explore the next chapter of their lives which I can’t wait to see. After the first two episodes, just like that my heart is broken!.
“And Just Like That…” is now streaming on HBO MAX, Now and airing on Sky Comedy!
Lightyear – Official Teaser | Starring Chris Evans
Lightyear is an upcoming American 3D computer animated film produced by Pixar set to be released on June 17, 2022. The film is a spin-off of the Toy Story franchise. It will be Pixar’s 26th animated feature.
Animation, Adventure, Comedy
June 17, 2022
Chris Evans (Voice)
The story of Buzz Lightyear and his adventures to infinity and beyond.
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