Movie Reviews
‘Are We Good?’ Review: In Introspective Doc, Marc Maron Navigates the Painful Realities of Grief
Toward the end of his 2023 HBO comedy special From Bleak to Dark, Marc Maron tells the audience a high-wire joke he’s been working on since his partner, the director Lynn Shelton, died in 2020 from a rare blood disease.
It starts with Maron on the way to the hospital to say goodbye to Shelton after a doctor arranges for the comedian to see her body. When Maron gets there, he takes his time saying goodbye. As he’s walking out of the ICU, he stops to consider a thought: “Selfie?” he asks himself. “No,” he finally decides. Most of the audience laughs immediately, but a few gasp before succumbing to their chuckles. It’s the kind of blunt and slightly scandalous humor Maron has built his career on, but it’s also textured with something rare for the comedian: a tender emotional awareness.
Are We Good?
The Bottom Line A scrappy portrait of grief.
Venue: SXSW Film Festival (Documentary Spotlight)
Director: Steven Feinartz
1 hour 35 minutes
There are scenes of Maron workshopping this joke in Are We Good?, a new documentary about the comedian that premiered at SXSW. The film, directed by Steven Feinartz, chronicles the years in Maron’s life succeeding Shelton’s death. It follows the comedian as he returns to stand-up and uses his craft to navigate this painful experience. Unlike most recent celebrity docs, Are We Good, which is still seeking distribution, is a little more than a hagiographic tribute. It’s an introspective portrait of how grief forces Maron, who spent a career metabolizing his feelings into cantankerous jokes, to finally confront his emotions.
While anyone navigating loss can identify with parts of the comedian’s journey, Are We Good? seems best suited for those familiar with Maron. The film complements the HBO special, offering a kind of behind-the-scenes look at the efforts that brought Maron in front of that audience at New York City’s Town Hall.
Feinartz, who also directed From Bleak to Dark, takes an unfussy approach to shaping Are We Good?. He uses home videos, recent footage of Maron living his life or testing new routines, as well as interviews with friends and colleagues like John Mulaney and Michaela Watkins, to tell the comedian’s story. The director occasionally indulges in some aesthetic flourishes — animation by Michael Lloyd, for example — but he mostly sticks to a spare style. This approach gives the doc a scrappiness that not only reflects Maron’s disposition, but also captures grief’s wayward turns.
The doc opens with a brief overview of Shelton’s relationship to Maron and her unexpected death. Feinartz relies on the comedian’s own telling of the romance, but he also pulls in clips from Maron’s show. They encountered each other in the 2010s and Maron invited the director onto his show, WTF With Marc Maron, in 2015. Excerpts from that episode capture the beginnings of their friendship. Shelton was married at the time and Maron was in another relationship, but the two artists stayed in touch. Shelton directed a couple of Maron’s specials as well as episodes of GLOW. She even cast Maron in her 2019 comedy Sword of Trust, which premiered at Sundance. When they finally got together, their relationship seemed as much an intellectual match as a romantic one.
“I was better in Lynn Shelton’s gaze,” Maron says at one point in Are We Good? Her death broke his heart and upended his world. Not only did the comedian lose his best friend, but he also couldn’t grieve her with his community. Shelton passed during the early days of the COVID lockdown. Maron frequently jokes about feeling like an exhibition when his neighbors, making an effort he appreciated, tried to comfort him from six feet away.
It’s no wonder Maron made use of Instagram Live. The comic started using the app’s feature while Shelton was alive (you can hear and see her in the background of some videos), but her death changed his approach. The livestreams, many of which Feinartz includes in the doc, became a way for Maron to connect with others and process his feelings.
In fact, Maron used almost everything in his life to confront this loss. The Instagram videos, his stand-up routines once he got back on stage, his podcast and even his relationship with his two cats all became avenues through which the comedian processed grief. The experience, though a universal one, felt singular and overwhelming, and Maron needed to talk about it. At first the conversations and jokes were a bit stilted — awkward even — but he eventually got more comfortable, loosening up and letting the emotions wash over him like a wave.
Are We Good? traces the evolution of Maron as a person and artist trying to make space for loss in his life. The process unearths other repressed emotions, especially about his early years. Feinartz uses Maron’s biography — the emotionally absent father, the youthful years in Albuquerque, his early interest in comedy and his substance abuse — as a lens through which to understand his present pain. This framing lets Feinartz cover most of Maron’s life and early career, but it’s by no means comprehensive.
As with many of us, Maron’s emotional issues can be traced back to childhood. The comedian talks a lot about his dad’s emotional inaccessibility. In one telling anecdote, Maron remembers how he was often tasked by his mother with telling a joke whenever his father was in a mood. “You’re the only one who can make him laugh,” she would say.
When Barry Maron appears in the doc, Maron reveals that his father has dementia. The condition complicates their relationship as Maron spends more time with a person he hasn’t really forgiven. The senior Maron is also more to the political right than his son, and sometimes the junior Maron references his father’s conspiratorial thinking. Here’s where I wish Feinartz had dug a bit deeper. It seems like Maron’s relationship with his father, changing so much in the face of the latter’s disease, has added another layer to his grief. But the doc doesn’t dwell. Instead, Feinartz splits his attention between this painful thread and one concerning Maron’s career ambitions.
When HBO taps the comedian for a special, it boosts Maron’s confidence. His excitement is palpable. He’s been a working comic for decades and hasn’t always felt as recognized as his peers. The special makes him feel like he’s arrived, and it becomes a place where his emotional and artistic lives meet honestly.
When I spend time around fellow writers, regardless of their achievements, conversation is much the same as in any other context. When I watch groups of fictional writers in films, they are continually striving to outdo one another, to show off their brilliant intellects. It’s a constant process of trying too hard, and it’s exhausting. To his credit, Dustin Hoffman, who plays established literary genius David in this torrid tale of family conflict, doesn’t come across this way, rising above the clumsy script thanks to his patient approach. The same cannot be said of the other actors, all of whom have proved their talent elsewhere yet seem seduced by the notion that this is how intelligent people behave.
The plot here is fairly simple, and not without potential. David’s son Jacob (Tom Sturridge) is a copywriter and successful creator of jingles, but after his wife Elise (Alison Brie) wins a major award, he starts getting insecure, wanting to prove that he can make it as a proper literary type. The obvious way to do this seems to be to write a biography of David, but David has no interest in engaging with this. He provides a number of reasonable justifications for this. Underlying them is the fact that we all tend to frame ourselves in different ways for different people. What one might be willing to say to the great anonymous public is not necessarily something one might feel able to say to one’s son.
This stalemate is broken by the arrival of John (André Holland, fresh from the similarly awkward – but smarter – The Dutchman), an old friend of Jacob whom David remembers fondly. At Elise’s instigation, a secret deal is made: John will look after the increasing fragile older man during the day and, in the process, extract his stories from him, giving them to Jacob for his book. John agrees to this because he needs the money Jacob offers him, and it seems like a sweet deal. It immediately sets up a power imbalance, however.
Complicating matters further are John’s past as a literary protégé who failed to fulfil his promise; the fact that he was once in a relationship with Elise, whose dissolution she regrets; and the pressure that she’s under to match her great success, from an agent who subscribes to the popular but rather tedious belief that inspiration is most easily found in bad behaviour.
Another way writers in films differ from those in the real world is that for them, critical success comes with money, so they don’t have to write very much. A good deal of this film is spent listening to them whine about how hard it is, as if under the misapprehension that it’s not really a form of work. Sturridge is particularly unfortunate; between this and Jacob’s whining about issues with his parents, he doesn’t get much else to do. Brie has a little more to work with as the film flirts with the idea that we’re caught up in Elise’s imaginary scenarios, but this doesn’t really convince. Holland manages to salvage something, but it’s only Hoffman who is really able to interject some energy into proceedings – ironic given that he spends a lot of his scenes in a haze of cannabis smoke.
It’s not terrible. Writer/director Alex Vlack frames scenes nicely enough and all the technical work is carried out to a good standard. There’s just little reason for viewers to invest. Like its characters, it’s intent on trying to communicate cleverly, but has very little to say.
Reviewed on: 04 Jul 2026
Movie Reviews
1986 Movie Reviews – About Last Night, Big Trouble in Little China, The Great Mouse Detective, Howling II, Psycho III, Under the Cherry Moon | The Nerdy
Welcome to an exciting year-long project here at The Nerdy. 1986 was an exciting year for films giving us a lot of films that would go on to be beloved favorites and cult classics. It was also the start to a major shift in cultural and societal norms, and some of those still reverberate to this day.
We’re going to pick and choose which movies we hit, but right now the list stands at nearly four dozen.
Yes, we’re insane, but 1986 was that great of a year for film.
The articles will come out – in most cases – on the same day the films hit theaters in 1986 so that it is their true 40th anniversary. All films are also watched again for the purposes of these reviews and are not being done from memory. In some cases, it truly will be the first time we’ve seen them.
This time around, it’s July 4, 1986, and we’re off to seeAbout Last Night, Big Trouble in Little China, The Great Mouse Detective, Howling II, Psycho III, and Under the Cherry Moon.
About Last Night
St. Elmo’s Fire was awful. This feels like a make-good for two of the actors.
Danny Martin (Rob Lowe) meets Debbie Sullivan (Demi Moore) and their chemistry is electric and immediate. They waste no time becoming serious, and moving in together, despite neither of them having ever had a serious relationship. They quickly discover it’s not quite as easy as just sharing an apartment like you do with a roommate.
I didn’t love the movie (mainly due to Jim Belushi’s Bernie character), but I did enjoy it far more than I anticipated.Moore and Lowe’s on-screen chemistry really clicked far more than most on-screen couples.
It’s a good character study, and keeps you engaged. Is it essential viewing? That’s up to you.
Where to watch: Available to stream.
Big Trouble in Little China
If there was ever a poster child for a movie that found a second life in rentals and on cable, this is it.
Jack Burton (Kurt Russell) is a over-the-road trucker with a lot of thoughts on life and how important reflexes are. While making a delivery in Chinatown, he gets sucked into a situation with an ancient Chinese evil trying to regain its humanity, and all Jack really wants is to get his truck back.
John Carpenter wasn’t quite a household name, but with films such as Halloween, The Thing and Escape From New York to his name, people were taking notice. Teaming with Russell for another outing seemed like it would be another win, but this one proved just a little too odd for mainstream audiences. Once it got into our homes, however, everyone fell in love with it.
As Jack Burton always says, it’s a must-see for any 80s journey.
Where to watch: Available to stream.
The Great Mouse Detective
I had never seen it, and as Disney films go, I would have been fine keeping it that way.
Set in Longon in 1897, a young mouse named Olivia Flaversham witnesses her toymaker father get kidnapped. She seeks out Basil of Baket Street, also known as the Great Mouse Detective. Along with David Q. Dawson, recently returned from serving in the military in Afghanistan, the three of them try to stop Professor Ratigan from replacing the Queen.
It’s just a Sherlock Holmes story, but with mice. I didn’t find anything that compelling about it. It was pretty enough to look at, but the story just left me fairly empty.
Where to watch: Available to stream.
Howling II
I… have a lot of thoughts.
Following up on the end of the The Howling, Ben White (Reb Brown) buries his sister Karen White, and quickly learns she was a werewolf. He teams up with werewolf hunter Stedan Crosscoe (Christopher Lee) to take down Stirba (Sybil Danning), the queen of the werewolves who is about to celebrate her 1,000th birthday, and stop the spread of the werewolf curse.
On paper it sounds fine, in execution it is just… horrible. Poorly lit, horrible acting, low-grade effects, and costuming that leaves you more confused than anything else.
Avoid at all costs.
Where to watch: Available to stream.
Psycho III
I have to admit, so far these sequels haven’t been horrible.
Following up shortly after the vents of Psycho II, Norman (Anthony Perkins) is still hiding the body of Emma Spool, and having issues again with seeing “Mother.” He hires drifter Duane Duke (Jeff Fahey) to run the motel. He also meets Maureen (Diana Scarwid), a nun on the run after she accidentally kills one of her sisters. With a new woman in his life, Mother has some thoughts on what Norman should be doing.
In general I actually enjoyed this new outing in the franchise, although it feels it missed some opportunities at the end of the story of Norman and Maureen working together. What if Maureen had actually been the one manipulating Norman this time? There was another movie lurking in the background that sadly never gets broached.
What we did end up with, however, was entertaining.
Where to watch: Available to stream.
Under the Cherry Moon
This film was unfairly maligned.
Christopher Tracy (Prince) and Tricky (Jerome Benton) as wooing women in France in hopes of getting enough money to head back to Miami one day. When Christopher hears about Mary Sharon (Kristin Scott Thomas) inherting a trust fund of $50 million for her 21st birthday, she becomes his next mark, but little does he know how it will end for him.
Following Purple Rain, Prince could do no wrong in Hollywood and was given a blank check for his next film. Audiences and critics did not warm to this film as it wasn’t Purple Rain 2 and it lived with a bad reputation for years.
I hadn’t seen it in 35 years or more when I watched it for this report, and… I really enjoyed it. It’s over-the-top, but in the right way. Prince was clearly paying homage to the silent movie romance films, and it works for what it is. Is he a great actor? No. Does it work for this film? Yes.
Honestly, this may be one of the most enjoyable films I’ve had in this project in several weeks. It’s worth a reassessment.
Where to watch: Available to stream.
1986 Movie Reviews will continue on July 11, 2026, with Club Paradise.
Movie Reviews
Movie Review: ‘Minions & Monsters’ is a very yellow mash note to Hollywood – Sentinel Colorado
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This image released by Universal Pictures shows a scene from Illumination’s “Minions & Monsters.” (Universal Pictures via AP) -
This image released by Universal Pictures shows minions with the alien character Goomi, voiced by Trey Parker, right, in a scene from Illumination’s “Minions & Monsters.” (Universal Pictures via AP) -
This image released by Universal Pictures shows minion Henry, voiced by Pierre Coffin, left, and Goomi, voiced by Trey Parker, in a scene from Illumination’s “Minions & Monsters.” (Universal Pictures via AP) -
This image released by Universal Pictures shows a scene from Illumination’s “Minions & Monsters.” (Universal Pictures via AP)
Every once in a while, Hollywood gets high on its own supply and makes a love letter to moviemaking. It happened recently with Steven Spielberg’s “The Fabelmans” and George Clooney’s “Jay Kelly.” Now it’s time for the unlikeliest of love-letter writers: canary-yellow, gibberish-speaking, overall-wearing mini-monsters.
“Minions & Monsters” — the third chapter in the ongoing standalone adventures of the “Despicable Me” pint-sized enablers — is about the sheer greatness of moviemaking, and it’s a navel-gazing misfire. Few industries — maybe journalism, sure — is as enamored at making its profession seem heroic.
The Minions this time find themselves at the dawn of both the movie business in Hollywood and the last push by suffragists to get the vote. It’s a weird confluence that writers Brian Lynch and Pierre Coffin fumble.
The movie has playful references to old screen gods — Harold Lloyd dangling from the hands of a clock and Charlie Chaplin swallowed by the gears of a mechanical system — along Hollywood nods to “Casablanca” and the punny title “The Good, the Bad and the Stupid” — but the kids in the audience won’t get them and their parents are just too tired. Harold Lloyd jokes don’t hit as hard in 2026.
Two of the legion of faceless Minions step forward this time — best friends James and Henry, creative misfits amid a smear of yellow drones — to unite and make a movie. (Who knew there was a Minion counterculture?)
Things go very well at first — turns out adding a Minion or two to a cowboy or a heist movie makes them instant kings of the box office — and they soon move into a Beverly Hills mansion and become insufferable. James dreams of winning an Oscar, which in this case is a statuette of a gold banana, a Minion obsession.
But they hit a wall when silent movies turn to talkies. And since they spout nothing but nonsense — “Fantastico” “miso soup” and “vamos” — can’t make the transition. They’re dumped out of the studio system.
That’s when James and Henry finally get the plot going: Make their own killer monster movie by conjuring up real monsters. The first one they try turns out a little weird: The gigantic, fearsome octopus-dragon they request turns out to be a cute green Funko Pop-like critter called Goomi, voiced by Trey Parker. Goomi promises to find them some real monsters. But should we trust him?
Coffin, making his first solo directing effort after co-helming all three “Despicable Me” films and the first “Minions,” voices all the Minions — he must be fun to have at parties — and is an assured hand. The violence levels are a little high for PG, including a beheading and various impalings, plus the usual senseless mayhem.
The screenwriters have included a romantic subplot involving a suffragette voiced by Zoey Deutch who falls for a robot-alien (standout work by Jesse Eisenberg) in a storyline that makes less and less sense. And the framing device — a museum tour guide explaining how Minions shaped Hollywood — sags awkwardly.
Adults can keep awake looking for the Easter eggs Coffin has left for serious cinephiles: “20,000 Leagues Under the Sea,” “Steamboat Bill, Jr.,” “A Trip to the Moon,” “Metropolis,” “Citizen Kane” and “The Blob.” Maybe the best moment in the movie is almost a throwaway: Director George Lucas, appearing as himself.
“Hooray for Hollywood” is on the soundtrack and that might have been the subtitle for the movie itself. There are some people whose eyes get moist thinking about picking up a film camera and following their muse, having their work play in a dark theater to cheers. And then there are others who just want to get on with it already. “Vamos!”
“Minions & Monsters,” a Universal Pictures release that opens in theaters July 1, is rated PG by the Motion Picture Association for “violence/action, language, and rude/macabre humor.” Running time: 90 minutes. One and a half stars out of four.
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