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‘Are We Good?’ Review: In Introspective Doc, Marc Maron Navigates the Painful Realities of Grief

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‘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.

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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. 

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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. 

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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.

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Movie Reviews

It’s Not My Film review – relationship-crisis movie takes the long road through the Baltics

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It’s Not My Film review – relationship-crisis movie takes the long road through the Baltics

The endgame of a relationship – or maybe the crisis from which the relationship will emerge reinvigorated – is the subject of this likable, low-key two-hander from Polish film-maker Maria Zbaska. A couple is in crisis; one half is musician Zofia Chabiera who is making her confident acting debut as Wanda, bored and aimless, feeling those first intimations of mortality as people in their late 30s tend to; her unused and thwarted passion is beginning to curdle within her.

Wanda is in a stagnant relationship with Jan, played by Marcin Sztabinski, a heavy-set guy who maybe wasn’t quite as heavy-set when they first got together; he runs a bike repair shop, a situation to which he has dwindled having once dreamed of biking around the world. Wanda is irritated beyond endurance at the way Jan does nothing but doom scroll. (Rather shrewdly, she points out that people who spend their time knitting at least have a scarf to show for it.)

But it is Jan who has had the imagination to dream up a plan to challenge them both: they will hike along the remote and icy Baltic coastline, sleeping in a tent and generally braving the terrible cold. If they stay the course, they will stay together – but if either loses heart and leaves the sandy shore, then they are finished as a couple.

Well, perhaps there are no prizes for guessing whether they have cathartic rows and revelations and quirky serendipitous encounters with unusual people along the way. But the relationship between Jan and Wanda looks very real as they trudge along the vast and freezing seascape, like an ice-cold version of David Lean’s desert. And what does it all add up to? Perhaps not all that much: but it’s a charming and plausible relationship drama featuring people who look as if they might actually be in a relationship.

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It’s Not My Film is at Hull Independent Cinema on 20 March, then tours, as part of the Kinoteka Polish film festival, and on Klassiki from 21 March

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Ponman Movie Telugu Review And Rating, OTT Movie Review

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Ponman Movie Telugu Review And Rating, OTT Movie Review
Movie Name : Ponman

Release Date : 14 March, 2025
123telugu.com Rating : 3/5
Starring : Basil Joseph, Sajin Gopu, Lijomol Jose ,Deepak Parambol, Anand Manmadhan, Sandhya Rajendran, Rajesh Sharma, Kiran Peethambaran, Reju Sivadas, Jaya Kurupp, Midhun Venugopal, Thankam Mohan, Shylaja P Ambu
Director : Jothish Shankar
Producer : Vinayaka Ajith
Music Director : Justin Varghese
Cinematographer : Sanu John Varghese
Editor : Nidhin Raj Arol
Related Links : Trailer

Ponman, the latest Malayalam film starring Basil Joseph, has made its way to OTT and is now available in Telugu as well. Here’s our take on this dark comedy-drama.

Story:

PP Ajesh (Basil Joseph) has an unusual profession – he lends gold to families in need during weddings, helping them meet societal expectations. When he lends 25 sovereigns of gold to Steffi (Lijomol Jose), he expects an equivalent amount of money to be paid the day after the wedding. However, she refuses and moves to Kollam, her ruthless husband Mariyano’s (Sajin Gopu) hometown. Determined to reclaim what is rightfully his, Ajesh embarks on a risky journey. What challenges does he face? Why did he choose such a precarious profession? Was Mariyano aware of the deal? How does Steffi respond? The film unravels these answers intriguingly.

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Plus Points:

Basil Joseph once again proves his knack for picking unique roles. Venturing into dark comedy with a socially relevant backdrop adds an interesting dimension to the film. His performance is compelling, effortlessly balancing humour and emotion.

Sajin Gopu delivers a powerful act as Mariyano, embodying an unpredictable and ruthless character. After making an impression in Aavesham, he surprises with a completely different persona, keeping the audience engaged.

Lijomol Jose makes a mark despite her limited screen presence, portraying Steffi with conviction. The supporting cast, including Anand Manmadhan and Sandhya Rajendran, adds depth to the narrative. The comedy woven into serious moments is a strong highlight of the film.

Minus Points:

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While the first half lays a strong foundation, the second half falters in pacing, making the film feel sluggish. The writing loses its grip, leading to sequences that lack the intended impact.

Basil Joseph delivers a solid act, but given his track record in comedic roles, audiences might find it difficult to accept him in a serious setting. The character could have been better suited to an actor with a more intense screen presence.

Certain characters, especially Anand Manmadhan’s, start off well but eventually fade into the background. A more defined character arc would have enhanced their impact on the story.

The climax, which should have been a high point, instead feels abrupt and underwhelming. The final confrontation lacks intensity, and the resolution could have been more gripping.

Technical Aspects:

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Director Jothish Shankar presents a decent effort, but a more refined screenplay and stronger character development could have elevated the film. Justin Varghese’s music is functional but doesn’t leave a lasting impression. Sanu John Varghese’s cinematography effectively captures the film’s setting, while Nidhin Raj Arol’s editing could have been sharper to maintain a tighter narrative. The production values are decent.

Verdict:

On the whole, Ponman presents a decent premise with a mix of dark comedy and social commentary. While Basil Joseph delivers a commendable performance, the film is weighed down by a slow second half, underdeveloped characters, and an abrupt climax. Despite its flaws, it offers a few engaging moments, making it a passable one-time watch for those who enjoy offbeat dramas.

123telugu.com Rating: 3/5

Reviewed by 123telugu Team 

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Be Happy movie review: Abhishek is ‘extraordinary’, says Amitabh Bachchan; check what others are saying | Mint

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Be Happy movie review: Abhishek is ‘extraordinary’, says Amitabh Bachchan; check what others are saying | Mint

Amitabh Bachchan calls Be Happy, Abhishek Bachchan’s latest movie, “extraordinary”. The dance-drama, directed by Remo D’Souza, premiered on Amazon Prime Video on March 14.

“…what an honour for you Abhishek .. proud of you .. and today saw BE HAPPY .. such an extraordinary performance .. love you,” Big B wrote on Twitter (now X).

As a father, Amitabh Bachchan loved his son’s performance in the movie. But, what about others? Let’s find out.

“BE HAPPY is truly an amazing film! I watched it today with my Maa, and it was such a heart-touching experience. Incredible performances—more power to Jr. Bachchan!” wrote one social media user.

“it’s a gripping movie, Brilliant performance by Abhishek,” wrote another user.

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“Just watched ‘Be Happy’ and I’m still reeling from Abhishek Sir’s incredible performance.. Abhishek Sir! You’re one of the most talented actors of our time. Your acting is always top-notch, but this performance was something special. Keep shining, AB!” came from another user.

“A tender, heartwarming portrayal of a father-daughter bond. His quiet, nuanced, and emotionally guarded role as a single parent really suited him,” reacted one user.

Be Happy movie reviews

“The script gets something right in the father-daughter bond but doesn’t excavate the depth and complexities of single parenting, grief and trauma. In focusing on the drama, D’Souza takes his eye off his core competence—dance,” Udita Jhunjhunwala wrote on Livemint.

“A direct-to-OTT release is a smart choice, freeing it from box office pressures and allowing viewers to discover it on their own time. Despite its flaws, Be Happy leaves you with a smile,” Rishabh Suri wrote on Hindustan Times.

“Abhishek Bachchan literally shines as the struggling single father…But even his honest and sincere effort cannot save this ship that starts sinking in the second half!” wrote Trisha Gaur on Koimoi while calling actress Inayat Verma a “show-stealer”.

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“Verma is a sparkler, lighting up the screen. And Bachchan, who did such a solid job being a dad-to-a-daughter in ‘I Want To Talk’, comes off more stolid here,” commented Shubhra Gupta on Indian Express.

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