In a summer time the place Beavis and Butthead went to house and so many others traversed the multiverse, The Bob’s Burgers Film – now on Hulu and HBO Max – is refreshingly small-scale. However within the context of the endlessly charming, long-running TV collection that impressed it, the film’s HUGE, with a extra dynamic visible palette and murder-mystery plot pushing the ever-loving Belcher household farther exterior the burger-diner than ever earlier than. So this five-times-as-long-as-the-usual-episode film model of Bob’s Burgers positively hits the candy spot for followers’ expectations.
The Gist: SIX YEARS AGO. WONDER WHARF. Solely stuffed animals witness the violence, their mouths frozen agape, eyes empty. PRESENT DAY: Bob’s (voice of H. Jon Benjamin) poops have been free recently, poor man. He’s fretting intestinally as a result of the restaurant mortgage cost is due in per week and so they don’t have any cash. Wait – you do know who Bob Belcher is, proper? The proprietor and head chef at Bob’s Burgers, which he runs together with his spouse, Linda (John Roberts), whereas their three kids, Tina (Dan Mintz), Gene (Eugene Mirman) and Louise (Kristen Schaal) fart round amusingly? They’re the cutest, funniest and doubtless fartiest fam on TV since 2011. They’re tight. Very supportive. Know one another properly. Respectful to one another in a beautiful and really eccentric means. Buncha lovable weirdos, the Belchers.
Anyway, they’re at all times just about broke, so Bob and Linda’s present dilemma isn’t in any respect atypical. Ditto for the children, who get subplotted earlier than the larger plot pulls ’em away: Tina, as obsessive about boys’ butts as ever, desires lispy doof Jimmy Jr. (additionally Benjamin) to be her summer time boyfriend. Louise has an existential disaster about her omnipresent bunny-ears hat after a merciless schoolmate calls her a child, making us marvel if this film would possibly allow us to see her unhatted for the primary time ever. And Gene simply desires to siiiiinnnnnggggg; particularly, he’d like to see his band, the Itty Bitty Ditty Committee, play the Octa-Wharfiversary, a weeklong shebang celebrating eight many years of the Surprise Wharf, the neighborhood sub-Coney Island pier amusement park. The financial institution simply instructed Bob and Linda they will’t have an extension for his or her mortgage cost, so that they bear all the way down to promote quite a lot of burgers through the celebration, and hopefully not lose the restaurant and find yourself residing out within the alley with the raccoons.
Par for the Belcher course, that is the exact second when a large sinkhole opens up instantly in entrance of the door to the restaurant. However an enormous juicy alternative presents itself when Louise finds a corpse within the sinkhole – such is the irony of existence, ain’t it? – as a result of, what with one factor and one other, it could permit the children to hopefully discover the assassin and get on the great facet of their implicated wealthy landlord Mr. Fischoeder (Kevin Kline), thus kicking the can of their monetary struggles down the road. That’s the children’ plan, at the very least, which they pursue with out their dad and mom realizing. In the meantime, Bob and Linda get some assist from their pal and common burger eater Teddy (Larry Murphy), who’s a sweetheart, as ever, and builds them a burger cart to allow them to take their greasy-griddle present proper over to the pier for the Wharfiversary. Does Teddy steal the present? (He at all times steals the present.) Will Bob and Linda lose the restaurant? (Season 13 of the collection looms on the autumn schedule, so most likely not, until this film goals to dramatically disrupt the continuity of the Burgersverse.) Does Louise’s hat come off? (I can’t reply that – NO SPOILERS right here thanks).
What Films Will It Remind You Of?: The Simpsons Film, Beavis and Butthead Do the Universe, The SpongeBob SquarePants Film, and so on. However no animated-series-to-cinema adaptation is prone to surpass South Park: Larger, Longer and Uncut for probably the most massive laughs.
Efficiency Value Watching Listening to: Larry Murphy is at all times and perpetually the Bob’s Burgers MVP. He makes Teddy – a fix-it man and burger junkie who’s the oddest and strangest of wierd unusual birds, however in a splendidly light means – one of many best supporting comic-relief characters on TV, within the Corridor of Fame with Newman, Mrs. Ochmonek and Larry, his brother Darryl and his different brother Darryl.
Memorable Dialogue: Bob laments his gross lack of luck as soon as the sinkhole turns into a “crime gap”:
Bob: I don’t assume they fill in crime holes in a short time.
Gene: Crime gap.
Bob: Gene.
Intercourse and Pores and skin: None.
Our Take: The enjoyment of Bob’s Burgers, in episodic or cinematic kind, is its tonal perfection and kind-spiritedness, its not-quite-dead deadpan, warmly eccentric characters and skill to churn amusingly inconsequential battle out of its easy premise: Household of working-class restaurateurs barely will get by. The Bob’s Burgers Film doesn’t actually elevate the stakes – apart from hinging on an premature demise; godspeed, pricey carnie Cotton Sweet Dan – however broadens the scope a bit, de-flattening the Belchers’ environment with complicated 3-D photographs, dropping them into greater set items (e.g., the Fischoeders’ secret clubhouse) and even throwing in a automotive chase. Which is, after all, one of many extra ridiculous automotive chases you’ll ever see.
However that’s about as bold because it will get, which is simply high-quality. We don’t want the Belchers to enterprise too far exterior their small, idiosyncratic world, nor do they should danger their lives to put it aside. To not reveal an excessive amount of, however there’s a scene the place they’re trapped in a decent, darkish spot and all hope appears to be misplaced, and the tiny treasure of the second is when Linda, clad in a bikini stretched over a poofy hamburger-mascot costume, simply desires to carry her children’ fingers. Such is the emotional generosity of the collection, the muse beneath its endearingly kooky comedy.
The movie stays true to the TV components, bringing in acquainted recurring characters for cameos and deploying its signature loony musical bits. The latter are expanded, and key elements of the plot, with a catchy early quantity, “Sunny Aspect Up Summer season,” establishing particular person character conflicts, a center one fairly entertainingly set in a travel-trailer commune dubbed Carnieapolis, and a late one functioning because the narrative of the speaking killer, whose spiel is drawn out to ludicrous lengths. However that’s as satirical because the film will get, which can be simply high-quality. Bob’s Burgers by no means strives to be topical or edgy – now we have The Simpsons for that, nonetheless – preferring to maintain its universe microcosmic, whether or not on TV or on the cinema.
Our Name: STREAM IT. I’ve gone this complete overview with out making a single meals analogy for The Bob’s Burgers Film. That was deliberate. And that’s how a lot respect I’ve for this excellent franchise. Let this film open your eyes to the tiny Bob’s Burgers world, or additional enrich your appreciation for it.
John Serba is a contract author and movie critic primarily based in Grand Rapids, Michigan. Learn extra of his work at johnserbaatlarge.com.
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1 of 6 | Harris Dickinson and Nicole Kidman star in “Babygirl,” in theaters Dec. 25. Photo courtesy of A24
LOS ANGELES, Dec. 22 (UPI) — Babygirl, in theaters Wednesday, is the kind of erotic drama they used to make a lot in the ’80s and ’90s. As such, it is refreshing in 2024, though perhaps still derivative of its genre predecessors.
Romy Mathis (Nicole Kidman) is the founder and CEO of Tensile, a robotics company developing automated drones for warehouses. She is married to a theater director, Jacob (Antonio Banderas), and they have two daughters.
When Tensile begins a mentorship program for interns, Samuel (Harris Dickinson) pushes Romy’s buttons to get one-on-one time with her. His power plays unlock Romy’s repressed sexual desires and they begin an affair.
Playing power games may be inherent to many sexual relationships, so it’s not like one movie invented them, but it’s hard not to think about 9½ Weeks. In that notorious 1986 film, Mickey Rourke played a man who seduces a woman (Kim Basinger) with sex games involving food, spanking and blindfolds.
Still, Babygirl doesn’t play Romy as a cliche of a powerful businesswoman who really likes to be submissive in bed and experience the adrenaline of risking exposure.
Not that the affair compromises Romy’s success, either, although it could if Samuel reports her. She also starts to blur the lines of being submissive in private and at the office, but she doesn’t let it interfere with business decisions.
The love scenes between Kidman and Dickinson are revealing, but not gratuitous. They are vulnerable and uncomfortable rather than titillating.
The way writer-director Halina Reijn approaches consent is interesting and seems realistic. Samuel does insist on consent before continuing, which is a fantastic portrayal of obtaining verbal consent, though the conditions of Romy’s consent remain nebulous.
Romy makes it clear that Samuel’s power games make her uncomfortable. Agreeing to continue while feeling uncomfortable seems like it adds a level of duress.
It’s 80 minutes into the movie before Samuel and Romy even discuss using a safe word, which would give either party, but especially Romy, a way to end a session at her discretion. Yet, this is believable because Romy and Samuel are amateurs at this, so they’re figuring it out.
Samuel may play the dominant role, but he is in many respects just a poser. He is a young intern and very emotional when things don’t go his way.
It seems like Samuel is imitating what he thinks a Casanova would act like, but whenever Romy goes off script, Samuel seems to be at a loss for words. It’s not natural to him, either, though he thinks of some clever workplace games that make Romy play along.
He’s probably watched 9½ Weeks, too, or more likely just read the Wikipedia summary.
The Jacob character is the film’s most stereotypical.
Jacob is a loving husband who just can’t excite Romy. Romy tries to teach him to play games in bed, but Jacob doesn’t enjoy experimenting. It’s odd that a person whose job is in the arts would lack any creativity with his partner, but he’s entitled to have traditional desires, too.
The lack of monogamy is an unmitigated betrayal, as even submissive relationships should respect loyalty unless they’ve discussed and agreed to having an open relationship. The film eventually explores how a couple navigates compatibility, but Romy has to own hers first.
Individual choices the characters make in Babygirl will provoke discussions, and won’t be spoiled in this review. The positive is that the film does show Romy’s growth through the experience.
So, even if a viewer disagrees with part of the journey, the film makes its case for the value of those experiences. That makes it an engaging, provocative film.
Fred Topel, who attended film school at Ithaca College, is a UPI entertainment writer based in Los Angeles. He has been a professional film critic since 1999, a Rotten Tomatoes critic since 2001, and a member of the Television Critics Association since 2012 and the Critics Choice Association since 2023. Read more of his work in Entertainment.
Pottel, directed by Sahith Mothkuri and starring Ajay, Yuvachandra, and Ananya Nagalla in pivotal roles, is a rural drama that delves into the socio-cultural issues of the 1970s. The movie, which captivated audiences with its intriguing title, was released in theaters in October and recently debuted on OTT platforms Amazon Prima and Aha. With music by Sekhar Chandra, the film aims to strike an emotional chord with its thought-provoking narrative.
Plot Summary:
The story is set in a remote village during the 1970s, where the powerful Patel family dominates the region. Believing that education empowers people to question authority, the Patels discourage the villagers from pursuing it. Mallanna (Chatrapathi Sekhar), who recognizes the importance of education, dreams of educating his son Gangadharam (Yuvachandra). However, his efforts are thwarted when Patel (Ajay) kills him to maintain control over the village.
The villagers revere a local deity, Balamma, and Patel manipulates their beliefs to suppress dissent. Gangadharam grows up in this oppressive environment, determined to bring change. He marries Bujjamma (Ananya Nagalla), defying her brother and societal norms.
Meanwhile, the village observes a ritual every 12 years, offering a Pottel as a sacrifice to their deity. This time, Gangadharam is tasked with overseeing the ritual. The stakes are high, as failure to perform the ritual properly could have dire consequences for him. Caught between his goal of educating his daughter and empowering the villagers, and the ritualistic traditions, Gangadharam faces immense challenges from Patel. How he overcomes these obstacles forms the crux of the story.
Analysis:
The film effectively portrays the socio-political dynamics and superstitions prevalent in rural India during the 1970s. The director highlights the dominance of landlords like the Patels and their efforts to maintain control by keeping the marginalized sections uneducated. The screenplay weaves these themes with clarity, emphasizing the need for education as a tool for empowerment.
The movie also sheds light on superstitions and rituals like animal sacrifices, which were exploited by the powerful to manipulate the weak. The village itself feels like a character in the story, with its landscapes and traditions adding depth to the narrative. The realistic portrayal of the struggles and resilience of rural communities enhances the film’s authenticity.
Performances:
Yuvachandra delivers a compelling performance as Gangadharam, capturing the character’s struggle and determination effectively.
Ajay excels as the antagonist Patel, portraying the role with authority and menace.
Ananya Nagalla impresses with her portrayal of Bujjamma, adding emotional depth to the story.
The supporting cast, including Chatrapathi Sekhar, performs within the scope of their roles, contributing to the narrative’s strength.
Technical Aspects:
Cinematography by Monish Bhupathiraju stands out, beautifully capturing the rural and forest backdrops, adding an immersive visual quality.
Music by Sekhar Chandra complements the narrative well, with both songs and background score enhancing the emotional impact.
Editing by Karthik Srinivas ensures a cohesive flow, although some scenes feel slightly stretched.
The authentic depiction of rural settings and customs adds to the film’s credibility.
Final Verdict:
Pottel is a sincere attempt to address important social issues like education, empowerment, and superstition through a rural narrative. While the film’s pacing and predictability in certain areas might deter some viewers, its emotional core and relevant themes make it a worthwhile watch for those interested in rural dramas.
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