---

Director: Andrew DeYoung
Writer: Andrew DeYoung
Stars: Tim Robinson, Paul Rudd, Kate Mara

Synopsis: A suburban dad falls hard for his charismatic new neighbor.

---

I don’t think it would be unfair to say that the expectation of Friendship is that this would be a feature length I Think You Should Leave sketch. Tim Robinson has a unique style of humor that is strictly his own and while it may not work for everyone, it definitely works for me. Starting off, the theater was laughing at every little thing Robinson was doing on screen. However, as the film went on, a collective anxiety and unnerved feeling washed across the theater. Friendship definitely lives up to the expectation that I described before, but what I didn’t expect was something so nightmarish and, to put it bluntly, depressing. Don’t get me wrong, it’s hilarious, but by the time the credits roll I was wiped out.

Craig Waterman (Robinson) is a simple man that does very little outside of his day-to-day work. He is a married man with a son in high school, he gets a new neighbor that he quickly befriends, and frequently talks about “the new Marvel.” What sets him apart from the other characters in Friendship is he speaks almost exclusively in awkward jokes – common fare for his characters in I Think You Should Leave. But as the film progresses and he opens himself up more, it’s clear he is afflicted with arrested social development as he makes off putting comments and does bizarre things like shoving a bar of soap in his mouth as a joke (which does not land). 

What makes I Think You Should Leave likely to be rewatchable is that everyone in each bit is in on the joke to some degree. In I Think You Should Leave you’re being transported to some bizarre other world where the inhabitants are mild mannered individuals and one or two characters that perpetuate and drive a bit. In Friendship, if you remove Tim Robinson, it is a deathly serious movie. No one is feeding into a bit outside of him. The coverage of topics in Friendship include cancer, marital collapse, and a situation involving a missing person. I know the goal, even in the I Think You Should Leave bits, is to make the viewer cringe, but at times Friendship becomes a little suffocating.

Furthermore, Tim Robinson’s character he does – which he does for all of his comedy – works in small doses. On Saturday Night Live and I Think You Should Leave you’re given about 5 minutes, max, of this type of character. However, this type of character in a feature film is a little too much by the end. Each bad decision or off putting comment Craig would make compounds in the viewer. While I’m not entirely averse to the ‘cringe’ comedy, by the time the 100 minute runtime is up I was thoroughly exhausted.

With these things in mind, I weirdly found Friendship to be affecting. While I don’t directly identify with the Craig Waterman character or the things that he does, that feeling of longing was extremely palpable. Connecting with people is incredibly difficult, I wanted to see Craig win even if I wouldn’t want to be friends with him personally. And anytime he didn’t win (which is frequent in Friendship), I couldn’t help but feel a little sad. Life is weird how we’re just thrown into things and there’s a certain socially acceptable, binary way of living while we’re all extremely different from one another and offer completely different things to each other.

To that extent, even if there were elements of Friendship I found exhausting, the other elements elevated it to the same, yet opposite, levels. There was a cohesion to this film that is rare to find in films from sketch comedy regulars. For example, while I love films like Stepbrothers, Wayne’s World, or Popstar: Never Stop Never Stopping, the bits in those movies act as a way to get laughs rather than something that coexists with the world in their respective films. In Friendship you find a collection of bits that feels like it belongs to the world being built. The one bit I’ll mention, as to not spoil anything, is the “Marvel” bit that they’ve already pushed in their marketing. Once the “Marvel” is introduced it is integrated effectively and not seen as just a one-off. There’s a particular moment involving a client meeting where the bit isn’t directly referenced but is alluded to and the pay off is incredible.

Rarely does a film come around where I feel so starkly conflicted about it. And even with that, I really want to see it again. If you’re not a fan of the Tim Robinson style of comedy, this is probably the last thing you should consider if you’re looking to change that. But if you’re already a fan, this is a four course meal and then some. This film is nuclear levels of hilarious and simultaneously the worst trip imaginable. Friendship absolutely rules and should be seen in the largest and most uncomfortably crowded room imaginable. Excited to tell my therapist about this film!

Grade: C+

Story: Kyrah and Issac, former elite operatives turned lovers, go on the run with their son after their old team puts a bounty on their heads. Hunted by their ex-boss Jack Cinder, they must fight to protect their family and confront their past.

Review: ‘Shadow Force’ is a film that feels all too familiar, offering little new within its overdone premise. It’s a standard action thriller that doesn’t bother to break any molds. The plot takes too many liberties, never properly explaining key elements, and leaves the audience to fill in the gaps. While the action sequences may keep you engaged momentarily, the film quickly loses its grip, leaving you indifferent to what’s happening on screen. Despite the high stakes and potential for a gripping story, the lack of depth makes it a forgettable experience.

The plot centers on Kyrah Owens (Kerry Washington) and Issac Saar (Omar Sy), two former elite operatives who worked for a covert unit called Shadow Force. When they fall in love and have a child, they decide to leave their violent world behind to protect their son. However, their past catches up with them when Isaac’s identity is revealed while saving their son during a bank robbery. Once their former boss, Jack Cinder (Mark Strong), discovers they are alive, he places a bounty on their heads and sends a team of skilled assassins to kill them. The couple, forced to go on the run, must rely on their instincts and combat skills to survive. From Mexico to Spain to Bolivia, the action-packed journey unfolds with high-speed chases and near-death encounters.

The film suffers from a lack of clarity, particularly when it comes to its central premise. The audience is never truly given an understanding of what Shadow Force is or what Kyrah and Isaac have been doing before the events of the film. If their crime is simply falling in love and wanting to raise a family, it feels like a flimsy excuse for a plot. While the action sequences are thrilling, the narrative leaves much to be desired. The few moments of warmth, especially between Kyrah, Issac, and their son Ky, bring a brief sense of emotional connection. Issac’s use of French adds an interesting layer to his character, giving a natural, authentic feel to the portrayal, but these moments are overshadowed by a confusing and shallow storyline.

Kerry Washington’s performance is a major letdown, especially when compared to her past work. Her portrayal feels uninspired and flat, lacking the depth and intensity needed for such a high-stakes role. It’s hard to believe this is the same actress who delivered a brilliant performance in her previous film ‘The Six Triple Eight.’ Mark Strong, on the other hand, brings a sense of menace and gravitas to the character of Jack Cinder, proving to be a strong presence in his role as the antagonist. But it’s Omar Sy who stands out in this film. Despite being French, Sy is perfectly at ease in an English-language film, delivering a performance that balances both toughness and warmth effortlessly. His character feels real, and his natural charisma elevates the film, making him the one redeeming aspect.

‘Shadow Force’ never fully capitalizes on the potential its premise offers. It stays on the surface level, failing to dive deeper into its characters or plot. While it delivers on action, it never goes the extra mile, and in the end, it remains a forgettable, average film.

India’s ageing population is steadily growing, and as joint families fragment and urban lives grow busier, the emotional needs of the elderly are often sidelined. Nandita Roy and Shiboprosad Mukherjee – known for their sensitive, socially aware films like Bela Seshe and Posto – tackle this shifting reality in their latest, Aamar Boss. The result is heartfelt and engaging, though occasionally uneven.
The title Aamar Boss cleverly captures the film’s essence – a role reversal where an ageing mother asserts her independence, not just as a parent, but as a person with purpose. This duality of affection and quiet rebellion sets the tone.
The story begins with Shubhra (Rakhee Gulzar), a widowed, retired nurse with too much time and too little to do. Her son Animesh (Shiboprosad Mukherjee), busy with his publishing job, struggles to be present despite his love for her. Seeking purpose, Shubhra starts interning at his office – only to dream bigger. She launches a startup to empower other seniors, stirring both admiration and conflict at home.
The first half unfolds with charm and warmth, bolstered by crisp cinematography. A standout moment features a sunset over the city skyline – a quiet, poignant exchange between mother and son that speaks volumes. However, the second half loses momentum. Comic relief, particularly from Sabitri Chatterjee, offers some sparkle but stretches a bit long. The narrative rushes key developments, leaving certain arcs underexplored. A few forced romantic subplots – and forgettable songs – distract from the core story.
Rakhee’s return is the film’s biggest win. She commands the screen with grace; her expressive silences are deeply moving. Her scenes with Shiboprosad – filled with unspoken tension and mutual respect – are some of the film’s best. While Shiboprosad is solid as the pragmatic son, his romantic track doesn’t quite land. Gourab Chatterjee and Sauraseni Maitra add youthful energy, and the supporting cast – Shruti Das, Avery Singha Roy, Uma Banerjee, and Aishwarya Sen – shine in moments of genuine camaraderie, particularly among the women.
Aamar Boss aligns well with the Roy-Mukherjee filmography. Just as Bela Seshe explored late-life love and Posto redefined parenting roles, this film asks: What does relevance mean in old age? It suggests that retirement can be a beginning, not an end. Yet, the storytelling occasionally feels crowded – multiple subplots compete for attention, diluting the impact.
Despite its flaws, Aamar Boss resonates. It’s a timely reminder that caregiving is not just about comfort, but about respect, agency, and space. Whether you’re part of the sandwich generation or an older viewer seeking representation, the film offers moments of recognition – and quiet power.