Netflix And Chill: Office Romance (2026)

If you're not a fan of "the c-word" then you may not enjoy Office Romance as much as I did. I've always found it to be the strongest of the swear words, but it's also used much more casually in Scotland than anywhere else in the United Kingdom, in my experience. That aside, Office Romance is a rom-com that generally maintains a nice balance between the rom and the com, and then adds some extra sauce for some unexpected belly laughs.

Jennifer Lopez is Jackie, the CEO of Air Cruz (and also a qualified pilot). Her company has a strict policy against any relationships between colleagues, which should help her fight back against a frivolous lawsuit that has competitors accusing her of winning contracts by sleeping with people she is conducting business with. The other thing that should help her fight back is Daniel Blanchflower (Brett Goldstein), an in-house lawyer who is pretty great at his job. Unfortunately, Jackie and Daniel start to feel a very strong connection, which would ruin everything. It won't be bad if they can keep everything secret, but the likes of heavily-pregnant Sydney Bloom (Betty Gilpin), who has been alongside Jackie for many many years, can definitely sense something different in the workplace.

While director Ol Parker does a perfectly fine job behind the camera, and somehow manages to deliver something that feels like a proper film, as opposed to the Netflix feature products we've seen landing on there so often (which, to be fair, seems to be something that, with the likes of this and Apex, is changing for the better). It's the screenplay, co-written by Goldstein and Joe Kelly, that really makes this work though, working with plenty of familiar rom-com tropes while allowing the leads to feel like more well-rounded and sexual creatures than the more chaste figures we so often see in this kind of thing.

Goldstein also does well to have faith in himself when it comes to his main acting role. I have enjoyed him for some time now, but he's not who you might think of first when you envision a rom-com with Jennifer Lopez as the female lead. It works very well though, his Britishness and awkwardness juxtaposed with everyone around him in a way that makes you believe why Lopez would start to notice him. As for our Jenny From The Block, she can do a rom-com role in her sleep, and she gets to play a fantastic mix of professional, desirable, and passionate here. It's also great to see a film where the female lead is a decade older than her male counterpart, although Lopez doesn't look even close to her actual age. Gilpin is a hoot in her main supporting role, giving scowls and glares to almost everyone around her, Mary Wiseman is entertainingly over-sharing in most of her scenes, Tony Hale is a lot of fun as a put-upon HR worker, and you also get the likes of Jodie Whittaker, Edward James Olmos, Bradley Whitford, Amy Sedaris, Roger Bart, Will Sasso, and a few other familiar faces, filling out the enjoyably varied and sprawling cast. 

This is a perfect film for couples to enjoy together, which is what the best rom-coms should be. There are two leads you will find it easy to root for, an enjoyable storyline with enough obstacles to make things difficult for everyone without ever making things complicated, and a lot of great gags. Again, it won't work for those averse to some very bad language, and there's one visual gag that is hilarious because of how shocking and unexpected it is, and the revelations about the character played by Jodie Whittaker seem a bit odd and out of place, admittedly, but this is one I will happily recommend to most people looking for an enjoyable way to spend just under two hours. 

8/10

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Prime Time: The Tomorrow War (2021)

Here’s an idea. A race of aliens invade our planet, seemingly unstoppable, and the population of Earth manage to create two time portals, one in “the present” and one in the midst of the war against the aliens. The people of the future then come to our present, telling everyone that they need to enlist citizens for army duty. Chris Pratt plays Dan Forester, an ex-soldier who is now focused a science teacher, as well as a loving husband and father. When he is called up for duty, the aliens won’t know what is in store for them. Or maybe they will. Maybe the war is futile, unless Muri Forester (Yvonne Strahovski, playing the adult version of Dan’s daughter) can come up with a way to change the past.

Director Chris McKay has delivered some very enjoyable entertainment with his past few movies. The Tomorrow War wouldn’t make you remember that. It is, at best, competent. But, at worst, it drops every interesting idea in favour of brainless sequences that have Chris Pratt, sometimes teamed up with J. K. Simmons (playing Pratt’s father), fighting vicious aliens. Those sequences are perfectly fine, the action is done well enough and the CGI maintains a high standard, but they’re not good enough to remind you of the stuff not being explored.

I’m not sure if the fault lies with McKay, or with writer Zach Dean. Knowing that an alien race are about to devastate the planet and kill us all, people start to riot and act as if nothing really matters. Because nothing really matters. An interesting part of the film, dropped after being shown for about ten seconds. The whole third act, unable to avoid a major paradox, decides to just hurtle towards the end credits and hope you don’t realise how poorly plotted it is. You do, however, realise how poorly plotted it is, and not just with the time travel element.

Pratt is decent enough in his lead role, although he is much more comfortable in action man mode than he is in any of the family scenes (acting opposite Betty Gilpin, playing his wife, and/or Strahovski and Ryan Kiera Armstrong, both playing Muri at different points in her life). He does better with Simmons, but that’s mainly due to the two of them having a fractious relationship for most of the runtime. Sam Richardson and Edwin Hodge are good, playing people with two very different skill levels in the heat of battle. And you get a smattering of other supporting players who all do decent work.

If you want a sci-fi action movie that entertains then this does fit the bill. The first extended fight sequence against the aliens (weird spider-squid hybrid creatures) alone makes it worthwhile. Just be prepared to ignore anything that even hints at being thought-provoking, because it really doesn’t want viewers to think. 

6/10

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The Grudge (2020)

Here we are with another take on The Grudge, a movie series that has been going on now, in some incarnation, for about twenty years. I have loved most of the movies in the series, from those I have seen, and hoped for the best from this, despite hearing some pretty scathing reviews. Sadly, it's a whole big pile of nothing.

Shown in the series-standard non-linear style, the basic story concerns a Detective Muldoon (Andrea Riseborough) and her young son, Burke (John J. Hansen) being affected by the cursed house. She is working with a Detective Goodman (Demián Bichir), who saw his partner (Detective Wilson, played by William Sadler) driven to madness by the house. There's also a tale of a young couple (John Cho and Betty Gilpin) going through some major horror, and an elderly couple (Lin Shaye and Frankie Faison) who show some terrible sights to someone visiting to discuss assisted suicide (Jacki Weaver).

Written and directed by Nicolas Pesce, The Grudge feels like a movie written by someone given a summary of the previous films, but no direct experience of them. There's no impressive atmosphere here, no consistency in the way scares are built, or delivered, and generally not much that makes it feel like a film in the series. The juggled chronology quickly becomes annoying, especially as it all leads to a finale that absolutely underwhelms.

Without intending to offend most of the people onscreen, the casting doesn't help. Riseborough is a particularly cold nominal lead, and her scenes with Bichir are quite abysmal. She fares better with Sadler,who is a definite highlight. The scenes involving Shaye, Faison, and Weaver are the best in the film, mainly due to their comforting familiarity, but both Cho and Gilpin are wasted in their story strand, as much for the sad inevitability of it all as for the lack of any solid scares.

Considering the films he has done before this, I am even struggling to figure out why anyone would think Pesce a good fit for the series. He seems to specialise in mood and strangeness, which may have been marked in his favour, while The Grudge does best when full of palpable dread, punctuated by major shocks.

And, as lame as this may sound, this take on the material also underuses some other strengths, namely some fantastic audio and visuals that have given fans goosebumps for years.

Very disappointing. You would be better going back to revisit the many other interpretations, sequels, and tangents that the series has had since the start.

3/10

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Netflix And Chill: Coffee & Kareem (2020)

Is it just me or have there been a lot of comedies lately falling back into the well-worn tropes of the buddy cop genre without both leads being cops. There ARE movies with two mismatched cops (at least two of the better ones star Melissa McCarthy), but we now have cops dragging innocent civilians into their dangerous escapades (e.g. Central Intelligence, Stuber), couples trying to prove their innocence by diving into the underworld (e.g. Date Night, The Lovebirds), and adults teamed up with kids (My Spy, this). Of course, the familiar formula has been reworked with various combinations over the past few decades, nothing new there, but it feels as if there's been a recent resurgence, with it already becoming almost as tired and word as it was by the time Whoopi Goldber was partnered up with a talking dinosaur.

Ed Helms plays a police officer, Coffee, who doesn't seem to be too good at his job. He's enjoying his new relationship with Vanessa (Taraji P. Henson) though, although things may be a little tense with her son, Kareem (Terrence Little Gardenhigh). In fact, Kareem pretends to want some bonding time with Coffee, all to set a plan in motion that he hopes will get the man a beating. Things go wrong though, and Coffee and Kareem end up running for their lives. There are some dangerous baddies hot on their tale, and there may be some corrupt cops also involved.

The first feature from writer Shane Mack, this is very much a paint-by-numbers example of this kind of film, with the added "bonus" of one of the protagonists being a foul-mouthed kid. Mack sets everything up as you would expect. People being in the wrong place at the wrong time, the leads not getting on for the majority of the movie, but working together when necessary, and the obvious reveal of the main villain (revealed quite early on, to be fair, and not presented as a big "gotcha" moment). It's nothing special, but it's not bad, and there are a couple of good scenes making use of Helms being a desperate man while not wanting to be perceived as racist.

Director Michael Dowse (who also helmed Stuber, funnily enough) goes through the motions. He's not a director with any kind of voice, he just tends to work as well as the material that he's given. Coffee & Kareem is just okay, mainly because it is dragged down by the fact that Kareem isn't as hilarious a character as those making the movie think he is.

Gardenhigh isn't necessarily to blame for the way his character comes across, but it's easy to imagine things playing out a bit better with someone else in the role, perhaps someone who can better play up the attitude while also staying likeable enough to root for. Helms is doing the kind of stiff everyman he has done so many times before, and he's good at it, and Henson is disappointingly underused. Betty Gilpin takes on another movie role in her seemingly ongoing attempt to find something cinematically that will best showcase her talent, and she's definitely a highlight. It's just a shame that the middling nature of the rest of the movie means that this is another role that won't really stand out in her filmography.

Coffee & Kareem is okay, and that's all. You can watch it once and forget about it soon after, or you can avoid it completely without any fear of missing out. It's a shame that they decided to try and wring most of their laughs from Kareem being "hilariously profane". That's not where the better comedy lies, and it's only the other gags that help to make this average, as opposed to truly awful.

5/10

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The Hunt (2020)

I wasn't sure what to expect from The Hunt, but I can tell you that my expectations were low. It seemed to be a standard riff on The Most Dangerous Game that managed to gain some notoriety by using the modern day polarising of political opinions as the basis for a lot of the main thrust of the plot. Well, that in itself didn't gain it the notoriety. The fact that it had the release date pushed back, and it could tag itself as "the film they didn't want you to see", helped to give it some notoriety. But is that all it has to offer?

No. It turns out that The Hunt is actually a smart and funny thriller that does itself a big favour by not aligning itself fully with one side or the other, in terms of the class divide, and the gap between those who are perceived to be in favour of all freedoms and those who are perceived to be "snowflakes".

Things start off with a number of great moments, a number of short, sharp shocks that deliver bloody entertainment while also making the most of some amusing cameos. It lets viewers know that they're going to see some extreme violence, if sometimes in an almost cartoonish way, and that nobody will be safe. And then we meet the one person we think may be safe for most of the movie. Crystal (Betty Gilpin) is onscreen for a minute or so before showing how much sharper she is than the rest of the people who have been scattered around as prey for some privileged folk who want to bag the ultimate kill. And that's all you need to know. The bodycount is impressive, Crystal has to constantly outwit opponents with more resources and intel than she has, and viewers are carried along to a third act that should provide some answers about how the hunt began, as well as some predictable satisfaction. Hopefully.

Although directed, and directed well, by Craig Zobel, this is a film that is very much covered in the fingerprints of the writers, Nick Cuse and Damon Lindelof (who both also worked together on the excellent Watchmen TV series). It seems pretty clear where they like to align themselves, politically, but they do at least take some time to show how the current lack of tolerance from those who find themselves offended can become a bit of a chicken and egg scenario with opinions being doubled down on and jokes being turned into a reality.

Gilpin is great in the lead, and it's her best movie role yet. She's believably tough and smart, and quickly sets her mentality to a focused survival mode. There are a few hunters given screentime, all of them fun in the way they can't comprehend ever being one-upped by someone they picked to be killed off, but the most recognisable is played by Glenn Howerton, who has fun with a role that taps into the sociopathy/psychopathy of his most famous comedic persona. Macon Blair is good in a very small role, and I'll mention Wayne Duvall, Ike Barinholtz, Emma Roberts, Amy Madigan, Reed Birnet, and Ethan Suplee, all of them doing their bit to add to the thrill of the hunt. Hilary Swank is also in the mix. She may not be onscreen for that long, but she makes a great impression (and it made me realise that I hadn't seen her in a major release for some time, certainly not having as much fun as she has here).

I'm sure that some people will watch this and be annoyed by the script, for one reason or another. It's a no-win situation for anyone writing something that weaves the current trend of making everything an ideological war with standard exploitation thrills. But everyone involved knows that. That feels like it's part of the point.

8/10

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Netflix And Chill: Isn't It Romantic (2019)

When I first heard about Isn't It Romantic I thought that it was going to cover the same ground as They Came Together. It wasn't. Instead, I got something that felt like a cross between I Feel Pretty and The Final Girls (which was, funnily enough, also from this director, Todd Strauss-Schulson).

Rebel Wilson plays a young woman named Natalie. Natalie is an architect, although a lot of people around her seems to treat her as a general dogsbody. Natalie is also quite the cynic, and has been taught from a young age (as we see in the opening scene) to always keep in mind that rom-coms are just nonsense, full of things that would never happen to someone like herself. Which makes it worse when, one day after struggling with a mugger and running into a metal beam, Natalie wakes up in hospital, and wakes up in the middle of what seems to be her own romantic comedy. Will this allow her to learn some kind of valuable lesson, or is it just going to be an endurance test until she can figure out a way back to normality.

A lot of Rebel Wilson performances depend very much on how you feel about Rebel Wilson. I tend to enjoy her work but each subsequent movie highlights the fact that she always plays things the same way. That can work, and you could say the same of her male co-star here (Adam Devine, who plays the smug moron-cum-douchebag in 90% of the movies he has done), but it's not something to rely on forever. She's fine here, and given decent support from a core group that includes Devine (the best friend who might end up being more than that), Liam Hemsworth (very . . .  "beguiling" . . .  as the hunky love interest), Priyanka Chopra (woman who Devine falls for, providing standard complication), Betty Gilpin (friendly work colleague in the real world, acidic workplace enemy underused in the rom-com world), and Brandon Scott Jones (popping up to be the subgenre-requisite gay BFF).

No one in the cast stands out as a bad choice. The big problem here lies elsewhere. The script. Written by Erin Cardillo, Dana Fox, and Katie Silberman, Isn't It Romantic has some funny and clever moments here and there, especially when it comes to censored swearing and transitions that imply sex without showing anything happening, but everything centres on a central idea that doesn't work. Wilson knows all of the tropes, and rolls her eyes at all of them, yet she goes along with them all while commenting on her displeasure. This allows the film to underline everything in every scene, making it less fun. Not only do viewers have everything spoon-fed to them while being bashed on the head with a rom-com rubber mallet, they also get constantly reminded that what they're watching is nonsense and (essentially) without any value. Where the movies mentioned in the first paragraph had a certain sweetness and optimism at the heart of them, whether you liked them or not, this has a cynicism in line with the main character, and that sours what could have been a very enjoyable rom-com that wore some layers of cool meta clothing.

Strauss-Schulson does a good job with the direction, ensuring that this always feels like your standard rom-com, from the visual style of each scene to frequent use of uplifting pop standards on the soundtrack. The film feels infused by every modern rom-com, helped there by the script, but nothing can quite outweigh the misjudged tone. I would have liked to laugh along with this film, instead it feels like they're pointing at things for you to laugh at.

There are laughs to be had, and a couple of fun musical numbers, but this is ultimately a disappointment, despite making a very good point during the grand finale.

5/10

Americans may order it here.