You'd better go now. I'm... beginning to like you

It's raining film! Hallelujah! It's raining film! Amen.

Hey! It’s the end of June. The year is half gone already. What the fudge?! It never ceases to amaze me how fast time flies once spring hits. I swear I’m gonna blink twice and it will be Christmas. I’m not talking retail Christmas in September either. I mean the real December deal.

The big news I have for you is that I have hit 100,000 words on my contemporary Outlander AU that I started writing last year. (Thank you! Your applause warms my fangirl heart.) This is Jamie Fraser and John Grey’s story and it’s an MM romance. It only took me eight months to hit that milestone. That’s five months in 2024 and three months in 2025. Between work, life, writing this blog, writing a (casual yet fun!) MCU role play with my friend Larray, and writing/editing/posting my Red, White, and Royal Blue Christmas AU from September-December 2024, I’m going to say that 100,000 words in eight months is pretty damn good. And though the WIP isn’t done yet, I’m eyeing an end-of-August deadline. Keep your fingers and toes crossed for me!

Now, let’s get to why you’re really here. I’ve got another HUGE film post for your peepers today. Featured are a bunch of flicks I watched over the past six months — including a mid-year check in on where I stand with my 2025 Criterion Challenge.

Get in losers. We’re going to talk movies!

IN CINEMAS

Jane Austen Wrecked My Life

As a longtime Austen fan, there was no way I wasn't going to see this French romcom. The filmmakers had me (and likely millions of others) at the title alone. I mean, come on! That title has everything. It's sardonic, witty, and winkingly relatable. Best. Romantic comedy title. Ever.

Seriously. This is a total mic drop.

Aspiring writer Agathe spends her days working at Shakespeare and Company, the iconic Paris bookshop, and her nights working on her manuscript. She has a flirty relationship with her best friend Felix, lives with her sister and nephew, and has an active imagination, which helps her come up with stories to write. Oh, right! I almost forgot to mention her nonexistent love life, hence the titular blaming of dear Jane. Agathe's life hums along until she's invited to attend the Jane Austen Residency in England, where she'll continue writing her book. Despite her protestations and insecurities, she accepts and then the fun really begins.

Writer-director Laura Piani has crafted a charming romantic comedy that knowingly nods at Austen, yet it’s really an ode to writing and the creative fulfillment that comes with it. Camille Rutherford is wonderfully awkward and acerbic as Agathe and she's well matched by Charlie Anson's Oliver, whose parents run the residency. The supporting cast is terrific and the time spent at Shakespeare and Company will only desperately make you want to book a flight to Paris, tout de suite.

What a wonderful way to celebrate Austen's 250th anniversary this year. Hit pause on that umpteenth viewing of Pride and Prejudice (1995 or 2005, whichever vintage you prefer) and give this a go instead. I promise that Elizabeth and Darcy will still be there when you return.

The Phoenician Scheme

If there’s one filmmaker who consistently satisfies me, it’s Wes Anderson. I grin from ear to ear every time he announces a new project. So you can bet I was a very happy cinephile when I first saw the trailer to his new film.

At its heart, this is a father-daughter story; it’s also Anderson’s most political film yet. Multiple assassinations have been attempted against rich businessman Zsa-zsa Korda (a sensational Benicio del Toro) and he’s successfully (though, at times, barely) survived each one. The most recent has him reaching out to his only daughter Liesel (Mia Threapleton, nearly running away with the film), who is now a nun and will inherit Korda’s estate if he has anything to say about it.

This is Anderson’s Dr. Strangelove. He and frequent collaborator Roman Coppola have crafted a delightful caper; a smart, clever satire filled with scheming, double-crosses, globetrotting, alliances, shadow governments, family dynamics, clever set pieces, wry humor, and cracking turns from his company of actors.

I have a feeling this will be one of those films that will reward eagle-eyed fans with each viewing. In which case, I can’t wait till I can see it again.

Materialists

Writer-director Celine Song won over audiences with her Oscar nominated debut Past Lives. Her follow up has proven shockingly divisive with some vehemently attacking the film. It’s not the typical reaction elicited from a romcom, especially one from a beloved filmmaker. While I don’t think the outrage is fully warranted, I understand it to a degree. The best art generates a response, sparks a discourse. And if anyone knows how to write characters versed in discourse it’s Jane Austen.

Song’s sophomore effort takes a page or two from birthday girl Austen — it’s a comedy of manners as much as it is a romantic comedy — with four adaptations among Song’s film inspirations. (Letterboxd has the complete list along with an interview with Song.) It’s not hard to make the correlation as Austen wrote about class divide, wealth disparity, and sociopolitical issues while having her characters deal with matters of the heart.

In Materialists, professional matchmaker Lucy has the world on a string. She’s sitting on a rainbow as she patiently waits for Mr. Right. Like her clients, she knows what she wants in a romantic partner and she’s not willing to settle. Or is she? One client’s wedding later and she’s presented with a conundrum: Bachelor No. 1, lovely and wealthy Harry who checks all her boxes or Bachelor No. 2, well-intentioned yet temperamental and poor John who happens to be her ex (not to mention an off-off-off-Broadway actor) and still checks all her boxes.

Not a love letter to Jane Austen but a High Fidelity-style mixtape, Materialists pulls most obviously from Emma with a dash of Persuasion, a splash of Sense and Sensibility and a sprinkling of Pride and Prejudice. Patricia Rozema’s brilliant 1999 film adaptation of Mansfield Park, more than Austen’s novel, immediately comes to mind during the introduction of a subplot in the second act that serves as sobering reminder that in the real world there’s more at stake than a broken heart.

The core trio of Dakota Johnson, Chris Evans, and Pedro Pascal have a nice, easy onscreen chemistry that makes me wish we could have seen Lucy, John, and Harry hanging out and enjoying each other’s company once each one get of her or his own way. Johnson was undoubtedly miscast as Anne Elliot in 2022’s misbegotten Persuasion adaptation for Netflix, but here she’s right where she’s meant to be. Nice to see Evans stepping up. A character actor in a leading man's body, his performance is a welcome reminder that he can be more than America's Ass. As for Pascal, well, sighs dreamily. (You’re damn right I’m Team Harry. Plus, have you seen his ass?!)

While not a masterpiece like Past Lives, there’s a welcome messy, chaotic energy that works well not only for the story but also the characters. There’s something to be said about a film whose vibe is akin to that of a lived-in hoodie that you bought on sale 10 years ago than a newly designed, sleek trench coat freshly delivered from Burberry.

Also, that new Japanese Breakfast track on the soundtrack is chef’s kiss.

PRIDE PICK

The Incredibly True Adventure of Two Girls in Love

An unlikely friendship between two high school girls blossoms into something more in this sweet, funny romcom from writer-director Maria Maggenti. Randy Dean and Evie Roy seemingly have nothing in common. Everything from the way they dress, their interests, and upbringing to their race and sexuality seems to prove it. Only once the pair connect, it's not long before their worlds are upended. Laurel Holloman and Nicole Ari Parker are wonderful as Randy and Evie, respectively. It's hard not to root for the girls when the odds seem so unfairly stacked against them. Released in 1995, this coming-of-age classic feels fresh and relevant 30 years on.

CLASSIC CINEMA SPOTLIGHT

The King of Comedy

It's easy to see why Martin Scorsese's 1982 cult fave has earned its reputation as an underappreciated gem. This is the darkly comedic story of aspiring comedian Rupert Pupkin, who takes matters into his own hands in order to perform for legendary late night host Jerry Langford on his late night show. What starts as simple idolatry twists and morphs into an obsession in which Pupkin will do whatever it takes to make his dream a reality — not even Langford is safe from Pupkin's increasingly desperate machinations. With Pupkin, Robert De Niro delivers one of his most iconic characters. It's an audacious performance that is among his best and he has an ideal partner in Jerry Lewis, whose fabulous turn as Langford I didn't see coming; in all honesty, I've never been a fan. I'd love to see Scorsese do another pitch black comedy, unlikely though it may be. Bonus: Speaking of Scorsese and dark comedy, do check out After Hours with Griffin Dunne. Between the two, you’ll understand why I love this side of Marty.

Morocco (1930) — Singer Marlene Dietrich (in my mind the original Divine Miss M) and Legionnaire Gary Cooper fall in love after meeting at a nightclub in the titular North African country. Come for Dietrich's sexy cabaret act. Stay for The English Patient vibes.

Bugsy Malone (1976) — James Cagney x Looney Tunes + a great Paul Williams score equals this delightful musical spoof of 1930s gangster flicks where bullets are swapped for whipped cream. Scott Baio leads an all-kid cast including future Oscar winner Jodie Foster.

Speedy (1928) — Dutiful boyfriend (and the Yankees’ No. 1 fan) Harold Lloyd goes to hilarious lengths to save the last horse-drawn trolley in New York, which is owned by his girlfriend's grandfather. Lloyd's final silent film has brilliant comedic set pieces, impressive choreography, and jaw-dropping physicality. All classic Lloyd hallmarks.

MOVIE NIGHT DONE RIGHT

Say Your Prayers (2020)

Two Christian hitmen roll into a small town to execute an atheist writer. The hitmen? Orphaned brothers. And the person who gave them the assignment? A Catholic priest. You’re hooked right? Excellent. This darkly funny, bittersweet British jewel has a huge heart that’s personified by Harry Melling’s loveable Tim, who’s one of the erstwhile hitmen along with Tom Brooke’s high-strung, volatile Vic. The first-rate cast also includes Roger Allam, Vinette Robinson, Anna Maxwell Martin, and Sir Derek Jacobi. Perfect for fans of In Bruges and/or for those who recognize at least two of the names mentioned.

Girls Just Want to Have Fun (1985) — No doubt popular on the slumber party circuit back in the day, this fun yet predictable teen comedy has new girl in town Sarah Jessica Parker just wanting to dance on TV. Helen Hunt (and her amazing wardrobe that seriously needs to be seen to be believed) steals the flick as SJP’s BFF.

The Miracle Club (2023) — A group of women in a small Irish town are each chasing a miracle, which has them joining a pilgrimage to Lourdes, France, that brings unexpected results. Dame Maggie Smith, Kathy Bates, and Laura Linney star in this charming, heartwarming film about faith, friendship, and the ties that bind.

CRITERION CHALLENGE 2025

Total watched so far: 14/52

For the second year in a row, I'm participating in the Criterion Challenge over on Letterboxd. (Click here for the rules and this year's categories.) For the most part, I've selected new-to-me films to watch throughout the challenge; I've also picked some that I've already seen so that I can enjoy them again and get some use out of the Criterion Collection DVDs/Blu-rays that I own. If you bought it, watch it. Right?

I’ve been slipping of late after a great start in the number of films I’ve seen thus far. As of this writing, I’m three below where I was this time last year. Oh, dear. But it’s still better than zero, so I will take it. And I’ve now seen 14 movies that I had never seen before. That’s pretty good.

If you want to know what made the cut this time out, you can check out my list.

Here are five of my favorite new-to-me watches thus far:

Babette’s Feast (1985)

One of the great food films, this Danish Oscar winner is light on its feet as it tells the tale of a strict religious village, the two spinster sisters who live there, and a woman named Babette who offers her culinary skills while working as a servant for the siblings. The interconnected threads of the story create an emotionally satisfying tapestry that warms the heart while tickling the funny bone. Needless to say, don’t watch on an empty stomach.

The In-Laws (1979)

When it comes to favorite comedic odd couples, Peter Falk and Alan Arkin are now sitting comfortably in the top spot. I never knew how much I needed their combined genius in my life until I saw this riotously funny classic. As fathers about to be joined together thanks to the impending nuptials of their kids, Falk enlists Arkin’s help in a series of escalating misadventures that might well cause an international incident.

The Man Who Fell to Earth (1976)

David Bowie as an alien impersonating a human in order to save his dying planet? Is it any wonder I fell hard for this film? Bowie floats through most of his scenes, he’s such a natural. There’s no one else who could have played Thomas Jerome Newton. In a similar respect, only director Nicolas Roeg could have made this film. The pair being at the height of their creative powers at the time, their artistic brilliance continues to resonate today.

Perfect Days (2023)

Merely thinking of this gorgeous, humbling ode to living simply, embracing tranquility, and allowing reflection generates a sense of calm in me. Wim Wenders’ film is a balm for the soul as is Kôji Yakusho’s tremendous performance. There’s no capital ‘P’ plot to be found as we hang out with Yakusho’s Hirayama while he generally goes about his life. I adore this film.

Thief (1981)

James Caan delivering a career best performance in a Michael Mann film. A Michael Mann heist film. One last job. A desire to go straight. In lesser hands this would be formulaic. Instead, we get everything we could want in this type of genre film, plus a thoughtful character study that adds depth to the claustrophobic tension and a much needed infusion of humor. If that’s not enough, try this: Willie Nelson. The Red-Headed Stranger himself. Now do I have your attention?

I also want to give a shout out to John Waters’ Female Trouble, which I wrote about last month along with a few other Waters flicks that I recently watched for the first time. All were streaming on Criterion Channel, but only Female Trouble was on my Challenge list. Clickity click right there on that headline quoting Divine’s character from the film. (The Harry Melling/Alexander Skarsgård photo is just a lovely bonus.)

And with that, we are outta time. Start spreading the Huey Lewis and the News!

(No DeLoreans or any version of Dr. Emmett Brown were harmed in the making of this blog post.)

Share your Criterion Challenge lists or your favorite Criterion Collection titles in the comments! If that’s not your jam, then share your latest movie recs!

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If you dare to stare into his eyes, you might be hypnotized! Of all the stylized looks Wes Anderson’s characters have adopted onscreen, this visage from The Phoenician Scheme may be my favorite. Benedict Cumberbatch’s Uncle Nubar is unparalleled. The slicked back hair, the natty suit, and that facial hair! My personal head canon is that Nubar, Sherlock, and Dr. Stephen Strange are all clones. Put them all in a room together and let the games begin.