“The White Lotus,” Mike White’s black comedy anthology series, is back on HBO for a third season. Times staffers love an escape, but since we can’t take a trip to Thailand to stay at a luxury resort, the next best thing is to immerse ourselves in the new season. Follow along with us for each episode as we discuss theories, observations and our favorite moments leading up to the finale. (Read our recaps: Episode 1, Episode 2, Episode 3, Episode 4, Episode 5, and Episode 6.)
The knockout blows and roundhouse kicks of Muay Thai fighting hit “The White Lotus” this week — with flashes of a fight spliced throughout the episode — but the more intense combat was happening outside of the ring for our gaggle of rattled characters.
The episode picks up with Rick (Walton Goggins) and Frank’s (Sam Rockwell) arrival at the Bangkok home Sritala (Lek Patravadi) shares with her husband Jim (Scott Glenn) — Rick’s target in the plan to avenge his father’s death. And it’s as hilariously unplanned as you’d expect from two dudes who can make a catch-up session between friends feel like a fever dream. Wearing a baseball cap with the Lowe’s logo, Steven (Frank’s alias as the fictional director in this Hollywood movie scheme) is totally winging this meeting. What has he directed? Uh … “What haven’t I directed? Mostly action films. ‘The Enforcer.’ ‘The Executor.’ ‘The Notary’ — that was a trilogy.” What’s the role in this so-called movie that he wants Sritala to portray? “She is a former prostitute, now a madam, and she owns a popular bordello.” Wait, isn’t the role supposed to be based on her? And has he seen any of her past work? Name ‘em!
It’s no wonder Frank quickly ditches the herbal tea and requests whiskey for the improv work he has to do. But was giving up his sobriety worth it? Then, when Chelsea’s 50-year-old child Rick does get Jim alone, he doesn’t make use of the gun he swore he wouldn’t bring. But closure can take many forms. An affected Rick carries out his revenge by simply knocking back a seated Jim to the floor. With that out of the way, Rick and Frank, who is ditching his performative Buddhist mindset for the evening, party. Chelsea’s calls, meanwhile, go unanswered.
Back in the hills of Thailand, Greg/Gary’s (Jon Gries) bash is unfolding. With some encouragement from her curious son, Belinda (Natasha Rothwell) makes the most insane decision ever and willingly places herself inside the home of the man she believes may be responsible for Tanya McQuoid’s death. Greg/Gary asks to speak to her in private, where he insists he isn’t involved in Tanya’s death. Really! To prove how much of a non-murderer he is, he offers Belinda $100,000 — because Tanya would have wanted that — to help fulfill her dream of opening a spa and in exchange, she’d honor “his peace.” Belinda tells him she’ll think about it. (To quote the great Oda Mae Brown: “You in danger, girl.”)
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Belinda (Natasha Rothwell) gets an offer from Greg/Gary for $100,000 to honor “his peace.”
(Fabio Lovino / HBO)
Other party-goers were experiencing their own internal conflicts. Saxon (Patrick Schwarzenegger), flying solo while his siblings are spending the night at the Buddhist center, is there with his parents. After receiving a reality check from Chelsea (Aimee Lou Wood) about his future as a loser back home, Saxon pulls his dad aside to figure out why he’s been acting strange. Saxon asks whether things are OK at work, emphasizing that he has nothing else going for him because he doesn’t have any interests or hobbies — sorry you had to hear it from us, blender — a medicated Tim, knowing his wife would rather be dead than poor, says everything is fine. Meanwhile, Victoria (Parker Posey) tries to rescue a woman dating an LBH (loser back home) at the party, inviting her to North Carolina.
Things aren’t any more relaxing at the resort — no matter how much Fabian’s vocal cords worked to soothe guests. Our favorite trio couldn’t smile through another dinner, and a passive-aggressive showdown, reminiscent of the recent season finale of “The Real Housewives of Salt Lake City,” begins. The conversation is particularly tense between Jaclyn (Michelle Monaghan) and Laurie (Carrie Coon). Laurie storms off, determined to go to the Muay Thai fight Valentin invited them to. While there, she cozies up to one of Valentin’s friends and goes home with him, only to be propositioned for $10,000 post-coitus — to pay off the debts of his sick mom, you see.
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At the same fight, Gaitok (Tayme Thapthimthong) — finally on his date with Mook (Lalisa Manobal), who expresses her disappointment at his indifference to ambition and power over dinner — has a light-bulb moment when he spots Valentin and his friends. He recognizes their features and tattoos as those of the masked men who raided the resort. Is this his shot to muster some courage and impress Mook?
Now it’s time for Greg Braxton, Mary McNamara and Yvonne Villarreal, platinum-status members of “The White Lotus” frequent guest program, to break it all down.
Gaitok (Tayme Thapthimthong) finally goes on a date with Mook.
(Fabio Lovino / HBO)
Who do we think is the corpse this week? Will Tim’s realization that the gun is missing be more foreboding than Gaitok possibly leveling up as a security guard?
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McNamara: The corpse is me because I am done trying to pretend that it makes any sense at all that the Ratliffs are all still without their cellphones. I mean Chelsea is on her phone constantly so it’s clearly not a resort rule and there is NO WAY that Tim and Saxon, who clearly knows something is up at work, would not have retrieved theirs. But I am now very worried that the corpse is Rick because there is no way Jim is going to take being shoved over lying down. I mean, did you see all those bodyguards? Still, I‘m sticking with Gaitok, particularly after his recognition of the wily Russians as the robbers and Mook’s goading him toward violence. (Red flag, Gaitok. Big red flag.)
Braxton: I’ve been kind of non-committal for a while on the corpse question, but I will throw out a few theories. I think it’s a pretty safe bet that Jim is going to return with Sritala to the White Lotus and track down Rick. He is not the type to take his wife being humiliated and deceived lying down, pardon the pun. When you pull a gun on a guy like him, you better freaking use it, or there will be payback. Also you don’t hire Scott Glenn for one episode. Although he will want to kill Rick, he also might kill Chelsea, bringing to fruition her “bad things come in threes” prophecy.
Villarreal: This week’s episode also has me thinking Gaitok is surely the corpse. His desire to impress Mook is going to have a tragic outcome — or as our Greg loves to say, “it will all end in tears.” But how? I’m not sure. I know there are a lot of questionable characters this season, but there’s something about Fabian I just can’t shake. And it’s not just that he’s a terrible hotel manager or that I’d rather hear the sounds of Saxon’s blender than be serenaded by him. The man seems destined to do something shady or stupid or both.
Let’s talk about the Rick and Frank show. What did you think about their meeting at the Hollingers’ home and what followed afterward?
McNamara: Again, Rockwell steals the show (I am dying for a cinematic trilogy of “The Enforcer,” “The Executioner” and “The Notary.”) Again, I am struck by the lack of believability — I get that Sritala is supposed to be starstruck by Power of Hollywood etc., but when it becomes clear that Frank didn’t even bother to do a quick Google, her lack of suspicion is very much at odds with all those bodyguards. As is Rick and Frank’s lack of concern after they left — I mean, isn’t Rick a little worried that he has to go back to Sritala’s hotel? Maybe she shoots him. I’m also very sad that Frank lost his sobriety.
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Braxton: So Rick has been obsessed with getting his revenge on the man who murdered his father. It’s the defining core of his grief and pain. The big moment is finally here, but instead of being prepared with a solid plan, he wings it, not even taking time to give Frank some advice or background on Sritala so he can play his filmmaker ruse convincingly. What did they talk about on the boat over? It makes no sense. Sritala and her husband seem smart enough to spot an impostor, but they do nothing. And what was the trigger behind Frank tossing aside his sobriety and Buddhist devotion so fast and diving back into depravity? I call it another case of Emmy bait.
Villarreal: First of all, the Lowe’s baseball cap that adorned Frank’s head had my full attention — that small detail left me wanting an entire backstory on how it came into his possession. But on to important matters: The lack of planning to carry out Rick’s grand plan was so hilariously perfect to me. I don’t know why I expected these dudes to deliver anything less than a terribly executed plan — Rick’s meeting with Sritala to set the home visit in the first place proved he was terrible at lying. Maybe his catch-up session with Frank left him too dazed to remember the need for a very basic Plan 101 conversation? Frank at least tried his best to improvise, but to see his sobriety quickly dissipate at the stress of it all was indeed bittersweet. Their ensuing escapade will surely reach doom levels. Am I as delusional as Chelsea to believe Rick will come to his senses before he gets in too deep?
Saxon (Patrick Schwarzenegger) has a heart to heart with Chelsea (Aimee Lou Wood). Could he be her next sad-boy soulmate?
(Fabio Lovino / HBO)
Chelsea made another sweet (or sad?) declaration of her love for Rick. But will he be her doom?Also, she and Saxon share some interesting moments in this episode. What’s going on there?
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McNamara: Chelsea clearly likes her men damaged and brooding and Rick has become, quite frankly, a bore. So if tragedy strikes the Ratliff family, Saxon could become her next sad-boy soulmate. Or Tim, for that matter.
Braxton: Chelsea + Saxon = yawn. Chelsea’s constant whining and pining for Rick was getting old a few episodes ago. Now it just seems pathetic and doomed. She needs therapy.
Villarreal: I dunno. The parallels between Rick and Chelsea‘s reactions in last week’s episode — Rick in hearing Frank’s monologue; Chelsea in processing Saxon’s lack of memory over the activities he engaged in with his brother — has me believing they are soulmates. I know her declaration about wanting to heal Rick and her being the hope to his pain is the sort of thing that would cause a friend to tell her to run for the hills, but I hope they make it out alive and live happily ever after. And I hope Saxon reads the books and finds his soul.
Chloe’s wild story about Greg/Gary’s weird fetish — what is Mike White trying to say about sex with all these moments?
McNamara: Well, I didn’t believe Chloe’s story for one minute. I have no idea if or why Greg/Gary wanted them to have sex, but all of Saxon’s jaded alpha-maleness certainly fell away in this episode. Still, with the exception of Belinda (and by extension, her son), I don’t have much of an emotional connection with any of this season’s characters, so I have no idea what White is trying to say about anything. I am, however, very curious to see how he’s going to pull any of these threads together in the finale.
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Braxton: The way she told the fetish story was so creepy. And Chelsea seemed to be approving of it. Once again, I feel there’s a lot of effort to be provocative this season without any real texture or meaning. I hope there’s something by the finale that will make it all make sense. But I’m losing hope.
Villarreal: The storytelling from some of these characters has me flashing back to “Are you Afraid of the Dark?” I love how Chelsea took it all in like it was a moderate level of crazy but not completely bonkers. I feel like Chloe is trying to set up a scenario that would set Greg/Gary off, but I don’t know why.
Jaclyn (Michelle Monaghan), left, Kate (Leslie Bibb) and Laurie (Carrie Coon) have a nice, uncomfortable dinner.
(Fabio Lovino / HBO)
The volcano of tension between the three frenemies finally erupted. But will it actually end their friendship?
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McNamara: Well, I’m quite worried about Laurie at the moment — I’m not trusting that cab she jumped into. And should she survive the journey, I am wondering if Jaclyn will just stick her with the White Lotus bill.
Braxton: It’s really hard to root for a kumbaya moment with these three. And none of them seem to be having a good time.
Villarreal: If ever there was a moment to call a truce among friends, it’s to share the WTF moment of a guy asking for $10,000 after sex — and suggesting she can PayPal or Zelle it for ease, no less! If they all make it out of this trip alive, I don’t think this unpleasant excursion will end anything. It’ll just be another blip they’ll gloss over when recounting their stay and continue on like passive-aggressive besties until the next one. I, however, would like to know what happened with Dave!
And what did you think of Aleksei’s request for $10,000?
McNamara: I need to know if he asked Jaclyn for same and if she gave it to him.
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Villarreal: Yes, I also wondered if this is a scheme with this guy group! How long before Tim considers this approach to rebuilding his fortune?
What did you think of the exchange between Greg/Gary and Belinda? Should she take the deal?
McNamara: Please call the police, Belinda. Like, now.
Braxton: First of all, Belinda should have played it much smarter: “First of all, make it $300,000, throw in that yacht and have your lawyer call my lawyer so we can get all this on paper. And if anything ever happens to me, my son will send all the dirt on you to the New York Times.” Not sure why she’s so concerned about what happened to Tanya, who was a neurotic mess, heartlessly crushing her dreams of owning a business.
Villarreal: I thought it was insane he was only offering her $100,000 in the year 2025. Like, hello? Maybe he went to the same University of Grand Planning that Rick attended. I did enjoy the way Natasha played that scene, clutching the purse and processing with eye blinks as he spoke. Belinda should definitely not take the deal — unless some more zeros are added to it. But, Greg B., if Belinda did accept Greg/Gary’s bid for her silence, and uses that money to open her spa, in a dark way, Tanya did help finance her dreams.
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Lochy tells Piper he wants to join her in moving to Thailand — surprised? And, more importantly, what’s your take on Piper’s reaction to his decision?
McNamara: Piper wants to get away from her family and for Buddhism to be her thing. That was the most believable thing in the whole episode.
Braxton: Piper loves her brother, but she wants a break from her whole family. That is more important than the Buddhism thing.
Villarreal: This whole family needs distance from each other. I do find it a little weird how quickly Piper was set off by his proposal, considering how much she welcomes his company anytime else.
Who gets your Best Facial Expression award this week?
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McNamara: Victoria, when the young woman protests that she actually loves her LBH husband. That incredulous double flinch/blink. Priceless.
Braxton: Gaitok’s “eureka” moment when he recognizes the thugs.
Villarreal: To avoid repeats, I’ll go with Frank’s reaction to watching a young Sritala perform. When he sincerely offers his thoughts on it — “I mean, it’s like MC Hammer, Peter Pan. It’s got a little Pippin.” — is pretty great, but it’s the way he tilts his head back with his sigh of “ahhh” as she says, “It’s the folk music and the rap music,” that’s gold.
Bounding into cinemas just in time for spring, the latest Pixar animation is a pleasingly charming tale of man vs nature, with a bit of crazy robot tech thrown in.
The star of Hoppers is Mabel Tanaka (voiced by Piper Curda), a young animal-lover leading a one-girl protest over a freeway being built through the tranquil countryside near her hometown of Beaverton.
Because the freeway is the pet project of the town’s popular mayor, Jerry (Jon Hamm), who is vying for re-election, Mabel’s protests fall on deaf ears.
Everything changes when she stumbles upon top-secret research by her biology professor, Dr Sam Fairfax (Kathy Najimy), that allows for the human consciousness to be linked to robotic animals. This lets users get up close and personal with other species.
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“This is like Avatar,” Mabel coos, and, in truth, it is. Plugged into a headset, Mabel is reborn inside a robotic beaver. She plans to recruit a real beaver to help populate the glade, which is set to be destroyed by Jerry’s proposed road.
In the summer of 1991, Nirvana filmed the music video for “Smells Like Teen Spirit” on a Culver City sound stage. Kurt Cobain strummed the grunge anthem’s iconic four-chord opening riff on a 1969 Fender Mustang, Lake Placid Blue with a signature racing stripe.
Nearly 35 years later, the six-string relic hung on a gallery wall at Christie’s in Beverly Hills as part of a display of late billionaire businessman Jim Irsay’s world-renowned guitar collection, which heads to auction at Christie’s, New York, beginning Tuesday. Each piece in the Beverly Hills gallery, illuminated by an arched spotlight and flanked by a label chronicling its history, carried the aura of a Renaissance painting.
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Irsay’s billion-dollar guitar arsenal, crowned “The Greatest Guitar Collection on Earth” by Guitar World magazine, is the focal point of the Christie’s auction, which has split approximately 400 objects — about half of which are guitars — into four segments: the “Hall of Fame” group of anchor items, the “Icons of Pop Culture” class of miscellaneous memorabilia, the “Icons of Music” mixed batch of electric and acoustic guitars and an online segment that compiles the remainder of Irsay’s collection. The online sale, featuring various autographed items, smaller instruments and historical documents, features the items at the lowest price points.
A portion of auction proceeds will be donated to charities that Irsay supported during his lifetime.
The instruments of famous musicians have long been coveted collector’s items. But in the case of the Jim Irsay Collection, the handcrafted six-strings have acquired a more ephemeral quality in the eyes of their admirers.
Amelia Walker, the specialist head of private and iconic collections at Christie’s, said at the recent highlight exhibition in L.A. that the auction represents “a real moment where these [objects] are being elevated beyond what we traditionally call memorabilia” into artistic masterpieces.
“They deserve the kind of the pedestal that we give to art as well,” Walker said. “Because they are not only works of art in terms of their creation, but what they have created, what their owners have created with them — it’s the purest form of art.”
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Cobain’s Fender was only one of the music history treasures nestled in Christie’s gallery. A few paces away, Jerry Garcia’s “Budman” amplifier, once part of the Grateful Dead’s three-story high “Wall of Sound,” perched atop a podium. Just past it lay the Beatles logo drum head (estimated between $1 million and $2 million) used for the band’s debut appearance on “The Ed Sullivan Show,” which garnered a historic 73 million viewers and catalyzed the British Invasion. Pencil lines were still visible beneath the logo’s signature “drop T.”
Pencil lines are still visible on the drum head Ringo Starr played during the Beatles’ debut appearance on “The Ed Sullivan Show.”
(Christie’s Images LTD, 2026)
It is exceptionally rare for even one such artifact to go to market, let alone a billion-dollar group of them at once, Walker said. But a public sale enabling many to participate and demonstrate the “true market value” of these objects is what Irsay would have wanted, she added.
Dropping tens of millions of dollars on pop culture memorabilia may seem an odd hobby for an NFL general manager, yet Irsay viewed collecting much like he viewed leading the Indianapolis Colts.
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Irsay, the youngest NFL general manager in history, said in a 2014 Colts Media interview that watching and emulating the legendary NFL owners who came before him “really taught me to be a steward.”
“Ownership is a great responsibility. You can’t buy respect,” he said. “Respect only comes from you being a steward.”
The first major acquisition in Irsay’s collection came in 2001, with his $2.4-million purchase of the original 120-foot scroll for Jack Kerouac’s 1957 novel, “On the Road.” He loved the book and wanted to preserve it, Walker said. But he also frequently lent it out, just like he regularly toured his guitar collection beginning 20 years later.
Jim Irsay purchased the original 120-foot scroll manuscript of Jack Kerouac’s “On the Road” for $2.4 million in 2001.
(Christie’s Images)
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“He said publicly, ‘I’m not the owner of these things. I’m just that current custodian looking after them for future generations,’ ” Walker said. “And I think that’s what true collectors always say.”
At its L.A. highlight exhibition, Irsay’s collection held an air of synchronicity. Paul McCartney’s handwritten lyrics for “Hey Jude” hung just a few steps from a promotional poster — the only one in existence — for the 1959 concert Buddy Holly, Ritchie Valens and J.P. “The Big Bopper” Richardson were en route to perform when their plane crashed. The tragedy spurred Don McLean to write “American Pie,” about “the day the music died.”
Later, the Beatles’ 1966 song “Paperback Writer” played over the speakers near-parallel to the guitars the song was written on.
Irsay’s collection also contains a bit of whimsy, with gems like a prop golden ticket from 1971’s “Willy Wonka & the Chocolate Factory” — estimated between $60,000 and $120,000 — and reading, “In your wildest dreams you could not imagine the marvelous surprises that await you!”
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Another fan-favorite is the “Wilson” volleyball from 2000’s “Cast Away,” starring Tom Hanks, estimated between $60,000 and $80,000, Gibson said.
Historically, such objects were often preserved by accident. But as the memorabilia market has ballooned over the last decade or so, Gibson said, “a lot of artists are much more careful about making sure that things don’t get into the wrong hands. After rehearsals, they tidy up after themselves.”
If anything proves the market value of seemingly worthless ephemera, Walker added, it’s fans clawing for printed set lists at the end of a concert.
“They’re desperate for that connection. This is what it’s all about,” the specialist said. It’s what drove Irsay as well, she said: “He wanted to have a connection with these great artists of his generation and also the generation above him. And he wanted to share them with people.”
In Irsay’s home, his favorite guitars weren’t hung like classic paintings. Instead, they were strewn about the rooms he frequented, available for him to play whenever the urge struck him.
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Thanks to tune-up efforts from Walker, many of the guitars headed to auction are fully operational in the hopes that their buyers can do the same.
“They’re working instruments. They need to be looked after, to be played,” Walker said. And even though they make for great gallery art, “they’re not just for hanging on the wall.”
“Trying to find your niche as a movie star isn’t easy,” said Frank Scheck in The Hollywood Reporter. Take Glen Powell. A year ago, the Twisters and Anyone but You star was being talked about as possibly the next Tom Cruise. But he “stumbled badly” when he tried to play a macho action hero in November’s remake of The Running Man, and he’s now turned in a second straight box office flop. He took a risk with How to Make a Killing, playing a guy cheated by fate who we’re supposed to root for as he begins murdering off the seven rich relatives standing between him and an enormous inheritance. But c’mon. “Powell is charming, but he’s not that charming.”
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The movie “needed to pick a side,” said Jacob Oller in AV Club. It could have been “a clownish class comedy” or “bitter sociopathic satire,” but it winds up being neither, and “at the center of it all is Powell, making the same face for an hour and 45 minutes, too unflappable to root for, too smug to magnetize as an inhuman American Psycho.” I’m not ready to give up on him, said Nick Schager in the Daily Beast. To me, he and co-star Margaret Qualley, who plays the femme fatale who eggs on the killing spree, come across as “such alluringly nasty delights” that this reworking of the 1949 black comedy Kind Hearts and Coronets “ survives its potentially lethal missteps and works on its own limited terms.” Though its teeth aren’t as sharp as they should be, “it’s smart and spiky enough to leave a pleasurably painful mark.”
‘Pillion’
Directed by Harry Lighton (Not rated)
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★★★★
While this gay BDSM rom-com from a rookie director “might sound niche,” said Amy Nicholson in the Los Angeles Times, “free yourself to see it and you’ll discover it’s a universal romance.” Former Harry Potter side figure Harry Melling stars as a shy singleton who’s figuring out what he wants in a relationship when he happens into a submissive-dominant entanglement with a tall, handsome biker played by Alexander Skarsgard. Soon, Melling’s Colin is obeying his lover’s every order, including by shaving himself bald and sleeping like a dog on the floor. But the “kinky-funny” screenplay, which won a prize at Cannes, makes sure we see that Colin is not stuck but growing.
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While the movie’s sex scenes are “refreshingly graphic,” they’re “never used or shock value,” said Odie Henderson in The Boston Globe. “The real shock comes from how emotionally involved the characters become within the construct of their kink.” And when Colin brings his new lover home to meet the parents, Skarsgard and Lesley Sharp, as Colin’s suburban London mom, do memorable work because “neither of them approaches the scene in a way you’d expect.” Until the ending, which “feels a little neat,” said Zachary Barnes in The Wall Street Journal, the movie “proceeds with an assurance of tone that’s especially impressive for a first-time filmmaker handling material like this.” Harry Lighton’s debut “could have been simply shocking, revving its engine in sexed-up style. Instead, Pillion purrs.”
‘Midwinter Break’
Directed by Polly Findlay (PG-13)
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★★
Lesley Manville and Ciarán Hinds “would be appealing to watch just fumbling for their reading glasses,” said Natalia Winkelman in The New York Times. Unfortunately, this “staid” drama about an aging Irish couple puts that claim to the test. A “slow-moving film with a sappy score and mellow mood,” Midwinter Break opens with Manville’s Stella surprising Hinds’ Gerry by arranging a spur-of-the-moment trip to Amsterdam. Alas, “precious little conflict occurs until long afterward.”
But while Polly Findlay’s adaptation of a Bernard MacLaverty novel is a “delicate” film, said Lindsey Bahr in the Associated Press, its impact can be profound “if you can get on its level.” Stella, a devout Catholic, has an ulterior motive for dragging Gerry abroad, and when she nervously proposes how she’d like to live more purposefully in retirement, “it feels earth-shattering.” This is a couple accustomed to leaving much unsaid, including how the violence of the Troubles led them to flee Belfast years earlier for Scotland. Manville and Hinds give the movie everything they’ve got, said Caryn James in The Hollywood Reporter. In a scene in which Stella pours out her heart to a stranger, “Manville delivers one of her most magnificent performances, which is saying a lot.” Alas, the script lets them down, “not because it needs more action but because this ordinary couple’s problems seem so unsurprising, their inner lives so veiled.”