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‘Doin’ It’ Review: Lilly Singh’s High-School Sex-Ed Comedy Gets an Incomplete

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‘Doin’ It’ Review: Lilly Singh’s High-School Sex-Ed Comedy Gets an Incomplete

Doin’ It revolves around surely the most literal interpretation imaginable of the old saying “those who can, do; those who can’t, teach.” Lilly Singh stars as Maya, who stumbles almost by accident into a job teaching sex ed, despite still being a virgin. As she schools her kids on everything from consent to gender identity to orgasms, Maya sets out to unlearn the shame that she herself internalized at that age — and maybe even to get laid for the first time.

Good intentions practically drip off the premise, which makes a convincing case for dismantling the fear and ignorance around adolescent sex ed. And Doin’ It puts its money where its mouth is — its jokes eschew pearl-clutching or coyness in favor of in-your-face crassness. But the comedy never quite settles into a comfortable rhythm, and eventually backs itself into a corner so far away from any recognizable reality that it threatens to undermine the very message it wants to send.

Doin’ It

The Bottom Line

Good intentions, uneven execution.

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Venue: SXSW Film Festival (Narrative Spotlight)
Cast: Lilly Singh, Ana Gasteyer, Sabrina Jalees, Trevor Salter, Sonia Dhillon Tully, Stephanie Beatriz, Mary Holland, Utkarsh Ambudkar
Director: Sarah Zandieh
Screenwriters: Lilly Singh, Sara Zandieh, Neel Patel

1 hour 30 minutes

Doin’ It‘s NSFW sensibility is front and center from the very first scene, in which a 15-year-old Maya has semen squirted in her face twice in five minutes by a friend who cannot control his excitement at getting to see her boobs. Her curiosity turns to humiliation, however, when a mishap involving a stage curtain reveals the moment to an entire auditorium of students and parents. Horrified, Maya’s mother (Sonia Dhillon Tully’s Veena) sends her packing to India, where her urges are further disciplined out of her: When she’s caught playing MASH in class, she’s made to stand outside in the heat “until all your dirty thoughts melt away.” By the time Maya returns to the States as a 30something software engineer shilling for a teen-oriented app, she’s hardly more experienced than she was as a teen. But in an effort to research her target demo, she picks up the teaching job and simultaneously tries to catch up on all the adolescent experiences she missed way back then.

Doin’ It is at its brightest in Maya’s personal journey of self-liberation, which yields one comically mortifying situation after another. While the actual gags are hit or miss (running bits frequently overstay their welcome, and too many jokes are built on formats so hoary we can see the punchline coming from three miles away), the frankness with which they’re presented is refreshing: Maya may blush at seeing her first vibrator, but her movie has no qualms about showing us that same vibrator messy with recent use. Its playful attitude toward sex is most fully embodied by Sabrina Jalees as Maya’s BFF Jess, a scene-stealer whether she’s fingerbanging papayas at the grocery store or crowing about how her DJ girlfriend “remixes my pussy like fucking Tiësto.”

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Meanwhile, the film extends sincere empathy toward Maya’s struggle to internalize in private the sex-positive values she espouses in public. “I’m confident with everything else but when it comes to this stuff, it’s like I’m broken,” she cries after a date with a cute fellow teacher (Trevor Salter) ends with her cruelly projecting her own fears about being “weak” and “prudish” onto him.

Her arc is neatly complemented by her mother’s. When Veena insists she couldn’t possibly date because she’s not that kind of woman — even while she laps up storylines about middle-aged romance on Never Have I Ever — we see how repression gets handed down the generations. In that light, Maya’s determination to break the cycle with her own students feels all the more noble.

The problem is that Doin’ It‘s idea of Maya’s work is so underbaked, it’s practically raw. “Maybe I have an opportunity here,” she muses when Jess mentions that half the schools in the state don’t even have sex ed, and that’s all it takes for Maya to decide to throw out the abstinence-only curriculum mandated by the district. On her first day, she’s so green she doesn’t know the difference between an IUD and a UTI. Seemingly overnight, she’s playing Betty Dodson videos and breaking down the best woman-on-top sex positions without so much as batting an eye. In doing so, she’s framed as an inspirational teacher in the Dead Poets Society mold, meeting her students at their own level in defiance of the oppressive standards that define the world around them. But the script, by Singh, director Sara Zandieh and Neel Patel, is never very clear about the challenges or the stakes she faces.

The opposition to her teachings is strangely toothless — none of the other parents or teachers even notice how drastically she’s strayed from the lesson plan for weeks, and once they do, the ensuing pushback plays out with more confusion than venom. It’s outside the scope of any one movie, let alone a lighthearted comedy like this one, to fix the state of sex ed in America. But as high-school students in the real world deal with book bans, limited contraception access and parental notification bills, Doin’ It‘s reluctance to touch on those weightier topics has the effect of minimizing the problem. In this fantasy, all you need to transform an entire generation’s relationship with sex is for a single teacher to decide that she wants to do it.

“We need a sexual revolution, and it starts in this place, today,” Maya declares in a dramatic speech, and she’s not wrong — her own storyline in Doin’ It serves as a warning of how the damage wrought by shame can take years or decades or entire lifetimes to move past. But if today’s youth indeed deserve honesty, the film might start by being a bit more candid about what the sex-positivity movement is really up against.

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Full credits

Venue: SXSW Film Festival (Narrative Spotlight)
Production companies: Likely Story, Unicorn Island Productions, Camelback Productions
Cast: Lilly Singh, Ana Gasteyer, Sabrina Jalees, Trevor Salter, Sonia Dhillon Tully, Stephanie Beatriz, Mary Holland, Utkarsh Ambudkar
Director: Sara Zandieh
Screenwriters: Lilly Singh, Sara Zandieh, Neel Patel
Producers: Anthony Bregman, Erica Matlin, Polly Auritt, Lilly Singh, Anita Verma-Lallian
Executive producers: Sara Zandieh, Neel Patel, Jawad Ahsan
Cinematographer: Jason Oldak
Production designer: Peter Cosco
Costume designer: Georgia Yarhi
Editor: Jon Philpot
Composer: Tom Westin, Zachary Greer
Casting directors: Jeanne McCarthy, Nicole Abellera Hallman, John Buchan, Jason Knight
Sales: WME

1 hour 30 minutes

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Movie Reviews

MOVIE REVIEW: Pixar’s Hoppers is laugh-out-loud funny

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MOVIE REVIEW: Pixar’s  Hoppers  is laugh-out-loud funny

The Snapshot: Pixar comes out swinging with an energetic and cuddly comedy that pairs big laughs with an earnest message about living alongside nature.

Hoppers

9 out of 10

G, 1hr 44mins. Animated Sci-Fi Family Comedy.

Directed by Daniel Chong.

Starring Piper Curda, Bobby Moynihan, Kathy Najimy, Jon Hamm, Dave Franco and Meryl Streep.

Now Playing at Galaxy Cinemas Sault Ste. Marie.

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True all ages fun is increasingly hard to find, and hoping for great, original works out of Hollywood is only getting rarer from the major studios. Thankfully, Disney and Pixar’s Hoppers is making the search a little easier.

Director Daniel Chong (best known for the TV series We Bare Bears) has masterfully directed a frantic masterpiece that is worthy to stand among iconic greats in Pixar’s esteemed catalogue. Filled with bustling action, a brave moral standing, and an endless parade of cuddly animal heroes, Hoppers is a dam great time.

A beaver dam great time, that is.

The story is a bit unusual, set in the northwestern town of Beaverton, Oregon, where a local University student and nature activist named Mabel (Piper Curda) is in a constant fight with the town’s development-driven mayor (Jon Hamm) over a highway expansion over a local glade and nature preserve.

Things gets wild, however, when Mabel’s consciousness gets sucked into a beaver robot through a process called “hoppers” – and suddenly becomes a literal friend of the forest, setting off a chain of events I dare not spoil.

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One of the strongest elements in Hoppers is Jesse Andrews’ terrific screenplay, built on a story structure that has made Pixar’s work stand out among family entertainment for the last 40 years. (Part of this film’s release, co-incidentally, marks the studio’s 40th anniversary this year.)

Not only has Andrews filled the plot with multiple organic surprises that repeatedly heighten the stakes of Mabel’s quest to save the glade, but the script also balances the peacefulness of nature to – anchor the story – with the frazzled panic of modern human life to develop the humour.

Getting these juxtaposing elements to work is done swiftly by Chong, Andrews and the talented voice ensemble bringing it altogether. The actors above are all commendable, but the scene stealer is Bobby Moynihan (of SNL fame) as beaver leader King George.

Moynihan’s George is smart, sincere, and socially aware that teaches Mabel some core lessons without making it overly obvious to the audience. Still, the film as a whole effectively gets its messages across about what a realistic plan for living in harmony across species actually looks like – and how to go about trying to do the right thing.

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Pixar’s original works have struggled for several years, mainly upended by the COVID pandemic ruining the box office prospects of multiple great movies, including Soul, Turning Red and Onward.

Get ready now for Hoppers to take the spotlight both commercially and among repeat viewings for kids – the film is laugh out loud funny and filled with heart. This is the best original film from Pixar since Coco almost a decade ago.

Read more here: You can’t miss Pixar’s Coco (2017 review)

The only small critiques, in fact, is that the main conflict doesn’t fully emerge or develop until halfway through the film, and the pacing is a bit slow until we get to the actual animal “hopping” that comes at the end of the first act. What’s also missing is the ethereal discovery of poignancy that made Pixar’s earliest filmography seem truly special.

Still, don’t let these small quips deter you. Hoppers is the first great film of 2026 and an absolute blast watching at the cinema.

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Children, parents, grandparents, neighbours, your mailman – everyone should see it this weekend. And seeing it sooner is a great way to encourage the development of more original, thoughtful and fun movies like this to be made.

Hop to it, beavers!

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‘Jab Khuli Kitaab’ movie review: A heartfelt exploration of love’s endurance

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‘Jab Khuli Kitaab’ movie review: A heartfelt exploration of love’s endurance

Pankaj Kapur in ‘Jab Khuli Kitaab’
| Photo Credit: ZEE5

Cracks in conjugality constitute a common conflict device in Hindi cinema. Usually, the male commits the bhool and expects forgiveness. Most fissures appear early, but what if a grandmother reveals a long-buried truth? Can the man accept it as easily as he expects forgiveness? Seasoned actor and theatre practitioner Saurabh Shukla gives new meaning to a prescribed book, making us both chuckle and reflect.

Being a cinematic adaptation of his play, the constraints of the medium are not completely erased, but it shines as a heartfelt exploration of love’s endurance.

The film’s core premise revolves around a decades-old secret — Anusuya’s (Dimple Kapadia) confession of an indiscretion early in their marriage — that surfaces after she awakens from a coma. This revelation forces Gopal (Pankaj Kapur) to re-examine 50 years of trust through the lens of this buried truth as a forgotten ad hoc presence in his life threatens to become a permanent peeve. Enter Negi (Aparshakti Khurana), a young client-chasing lawyer who becomes an unlikely facilitator of tough conversations, legal proceedings, and emotional confrontations.

A still from the film

A still from the film
| Photo Credit:
ZEE5

Jab Khuli Kitaab (Hindi)

Director: Saurabh Shukla

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Duration: 115 minutes

Cast: Pankaj Kapur, Dimple Kapadia, Aparshakti Khurana, Sameer Soni, Nauheed Cyrusi, Manasi Parekh

Synopsis: Gopal and Anusuya’s decades-long marriage is shaken by a revelation.

Though the transgression is a distant memory, its emergence shatters Gopal’s sense of shared space with Anusuya. He questions whether the life he built was an illusion. The woman he cared for seems suddenly unfamiliar. The film asks questions that may seem flimsy but persist in memory. For instance, Anusuya’s love for poetry that Gopal never really discovers, or the concept of marzi (inclination) in relationships.

Meanwhile, the revelation shakes the family unit. The parents initially try to shield the children from the truth, but the tension inevitably seeps in. Initially, it seems the son and son-in-law are bitten by the Baghban bug, but as the film progresses, the writing provides space for a dialogue on how companionship extends beyond the couple.

The film quietly reflects on the role of memory in a marriage, treating it as a central force that both sustains and disrupts long-term bonds. Gopal’s growing dementia suddenly seems like a cure for his marital problem. Without underlining, Shukla also explores the impact of the revelation on Gopal’s social psyche. Suddenly, a seemingly progressive man starts behaving like a parochial uncle, as we find dozens of them around us these days. Is it always the personal that shapes the political socialisation? Another uncle reminds us that laughing too much leads to days of sorrow, as if the Almighty has assigned us a quota of happiness.

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A still from the film

A still from the film
| Photo Credit:
ZEE5

Kapur’s masterful control shines through in Gopal’s progression from bewilderment and stubborn pride to vulnerability and, eventually, the rediscovery of love. Over the years, Kapur has shone in the estuary of comedy that holds a tragedy in its fold. He lives the script’s shifting tones. From the tender caregiving scenes in the beginning to the profound internal shift in demeanour and body language toward the film’s resolution— the transformation feels earned and believable.

It is hard to believe Dimple as a wilting wife, but soon we realise it’s the gravitas in her voice and personality that makes Anusuya a believable picture of regret and resilience.

We know the coma is more like a metaphor, but the medical aspect is treated with a heavy hand. The plot unfolds in a somewhat linear and foreseeable way, with the revelation and its consequences following expected beats. The contrivances, the dot-to-dot mechanics of storytelling, surface in the second half as if the director is keen on arriving at the crux without peeling the layers properly. But it is the chemistry between Shukla and Kapur that prevents this bittersweet dramedy from becoming schmaltzy. 

Jab Khuli Kitaab is streaming currently on ZEE5

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‘Hoppers’ movie review: Big ideas and smart emotional beats fuel a great adventure

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‘Hoppers’ movie review: Big ideas and smart emotional beats fuel a great adventure

In cinema logic, sharks, especially great whites, make excellent characters in animation. From Bruce in Finding Nemo to Mr Shark, the master of disguise in The Bad Guys, these apex predators turn their great gummy mouths with many pointy teeth into jolly good fellows.

In Hoppers, the 30th animation film from Pixar, there is a great white called Diane (Vanessa Bayer), who, despite being a scary assassin, has such sweet, shining eyes and a warm smile that one cannot help but grinning back.

Hoppers (English)

Director: Daniel Chong

Voice cast: Piper Curda, Bobby Moynihan, Jon Hamm, Kathy Najimy, Dave Franco

Storyline: A fierce animal lover uses a new technology to converse with animals and save their habitat from greedy, self-serving humans

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Runtime: 104 minutes

We first meet Mabel (Piper Curda) as a little girl trying to set all the animals in school free and being sent home for her pains (and also because she bites one of the teachers trying to stop her). Her busy mother drops Mabel with her grandmother (Karen Huie) who shows her the peace and quiet that can be hers if she only stops to listen.

The glade where grandmother Tanaka teaches her this valuable life lesson becomes a special place for Mabel. Years later, after her grandmother has passed, 19-year-old Mabel is a college student and still fighting for animal rights.

Matters come to a head when the mayor of Beaverton, Jerry Generazzo (Jon Hamm) plans to blow up the glade to build a freeway. Mabel tries to get signatures from the citizenry to stop the freeway plans, but that comes to naught as people quickly turn away from the zealous Mabel.

Frustrated, with no recourse in sight, Mabel chances upon a beaver making its way to her university’s biology lab. First worried that her biology professor Sam (Kathy Najimy) is doing some unspeakable animal experiments, Mabel is nonplussed to find that Sam, with her colleague Nisha (Aparna Nancherla) and graduate student Conner (Sam Richardson), have developed a revolutionary technology to transfer human consciousness to robot animal.

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Mabel uploads her consciousness into a robot beaver and sets off to thwart the mayor. Seeing the world from the animals’ perspective gives Mabel a unique point of view. Hoppers has jokes, chases, largeness of heart and solid science — not consciousness-switching with robot animals or flying shark assassins but the fact that beavers are the environmental engineers of the natural world.

The voice cast is wonderful, from Bobby Moynihan as the beaver king, George to Dave Franco as Titus, the prickly butterfly who becomes the insect king after Mabel accidentally kills his mum — the Insect Queen, played with terrifying grandeur by Meryl Streep.

The animals are delightfully delineated, from the spaced-out beaver, Loaf (Eduardo Franco) to Ellen (Melissa Villaseñor) the grumpy bear. The animation is lovely, with each of the animal and human characteristics clearly outlined. From the mayor’s grasping to Sam’s brilliance, Mabel’s fervour to Loaf’s stillness, and the different animal monarchs’ regality, it is all given marvellous life.

ALSO READ: ‘The Bride!’ movie review: Maggie Gyllenhaal’s glam-goth Frankenstein can’t hold its stitches

The “pond rules” ensure that the animals are not completely anthropomorphised — a sticky point in animation films where carnivores and herbivores hang together without even a sneaky licking of lips!

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Smart, funny, exciting, honest, and touching, Hoppers is the kind of film you can watch with the bachcha party and elders alike, with a happy grin. And then there is Diane of the red, red lips and sparkly white rotating teeth — yes, Hoppers boasts that level of detailing.

Hoppers is currently running in theatres

Published – March 06, 2026 07:08 pm IST

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