Prime Time: Oh. What. Fun. (2025)

One of the bigger Christmas movies to appear at the end of 2025, Oh. What. Fun. has a wealth of talent on both sides of the camera. It's directed and co-written by Michael Showalter, comedy fans should already be familiar with his name, and makes use of the likes of Denis Leary, Felicity Jones, Jason Schwartzman, Chloë Grace Moretz, Dominic Sessa, Joan Chen, and Eva Longoria. All while boasting another leading role for the great Michelle Pfeiffer.

Pfeiffer plays Claire, a mother and wife who is starting to feel very unappreciated. All she wants from her grown children is a nomination that will get her some recognition and an appearance on her favourite daytime TV show (hosted by Zazzy Tims, played by Longoria). Sammy (Sessa) is too busy feeling sorry for himself after recently being dumped by his girlfriend (Mae-bell, played by Maude Apatow), Taylor (Moretz) is distracted by her latest new love, Donna (Devery Jacobs), and Channing (Jones) is considering how to transition to some new holiday traditions with her own family. There's also a perfect neighbour (played by Joan Chen) adding some pressure to the holiday season, and things snowball until Claire just decides that she has to take a break from her family. On Christmas.

This is a strange one. It will be enjoyable enough for some, and you would think it could hardly fail with everyone helping to fill out the cast list, but, contrary to the title, it's not really any fun. And, yes, I am aware that the title is supposed to be ironic. The tone of the film isn't though. It's supposed to be a mix of comedy and drama that does what pretty much every Christmas movie does: deliver a seasonal message about kindness and love. It just rarely works as well as it should.

First of all, despite the very true statements made by Pfeiffer about how many Christmas movies (and, let's face it, movies in general) are made about men/boys needing help in comparison to movies that celebrate all that women do . . . the fact that the central character here is seemingly motivated by her own need to be seen as so much better than others around her doesn't help to make her a very sympathetic lead. In fact, and maybe I am risking some wrath here by just commenting as a clueless bloke, Pfeiffer's character isn't very pleasant to her family, doesn't seem to have any friends to help her let off some steam, and generally demands some specific rewards and recognition for doing a decidedly average job, at best, of being the family matriarch. Her husband and children may be a bit selfish and inconsiderate, but so is our lead, despite her actions trying to prove otherwise.

Second, it's neither very funny, nor is it very Christmassy. Many won't mind the lack of laughs, but I was hoping for something to compensate for the lack of real drama (and I do mean a LACK of real drama, with a few things being presented here that end up being completely inconsequential as things quickly move from one scene to the next . . . try to argue with me on that point and then tell me why we had that shoplifting scene, and what that added to anything). There are Christmas decorations, of course, and some pleasant chilliness in the air, but the lack of any sweet centre, and an apparent reticence to fully lean into all of the holiday trimmings, stop this from feeling like something designed specifically to be appreciated in the run up to Christmas.

Sessa and Schwartzman give the two best performances onscreen, which is a real shame when you consider who should be the shining stars. The latter plays Doug, husband of Channing, and his general mistreatment in the family home is another mark against the film, especially when he's shown struggling to connect with Channing's siblings, but always willing to turn up and do his best for family time nonetheless. Another enjoyable turn comes from Havana Rose Liu, playing a cool daughter of Chen's character. Pfeiffer struggles with the unhelpful material, as do both Jones and Moretz. Leary fares a bit better, but is, much like his character, able to coast along without making any major effort. And as for Eva Longoria, she does almost well enough to make you forget her small role in War Of The Worlds. Almost.

The first screenplay from Chandler Baker, adapted from her own short story, Oh. What. Fun. just has far too many things wrong with it to get even close to feeling right. Whatever Showalter thought that he could bring to the material isn't clear. All he's managed to do is helm a feature that will rank as one of the worst mainstream releases for all involved. And that is saying something when you think of the collected filmographies of the leads.

3/10

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Prime Time: The Idea Of You (2024)

A rom-com with emphasis on the rom ahead of the com, which is a bit of a surprise coming from director Michael Showalter (who has previously either been balanced towards much more com, or has maintained a very even rom-com equilibrium), The Idea Of You is a fun premise that is lifted by the performances of the two leads, one I am very familiar with already and one relative newcomer who seems to be making hay while he has a couple of years with the sun shining brightly upon him.

Anne Hathaway plays Soléne, a divorced mother who ends up travelling with her daughter, Izzy (Ella Rubin), to a concert featuring THE hot boyband of the moment. Before seeing them onstage, Soléne bumps into Hayes (Nicholas Galitzine), one of the band members. The two get on well, which leads to fun and complications when Hayes decides that he'd like to try and have a relationship with Soléne. Battling against those who are protective of their pop idol, as well as those who think the age gap is ridiculous, our two main characters look to have the odds stacked against them as they try to move towards a happy ending.

Based on a novel by Robinne Lee, adapted into screenplay form by Showalter and Jennifer Westfeldt, this is a film that may well surprise people with the little moments that make it worthwhile. Yes, it's a bit of romantic nonsense at heart, but it's also interesting to watch things play out in a way that highlights the everyday sexism inherent in how things are viewed here, compared to how they could be viewed, both in movies and reality, if the central relationship was a young woman and an older man. Okay, things are a bit undermined by the fact that we're supposed to buy into the idea of Hathaway being viewed as "old, tired, and unattractive", but it's easier to accept those insults being thrown around during the scenes that show the reactions of angry and immature fans.

Hathaway is as likable as ever here, and she tries her best to portray the tiredness and anxiety of her character when pressures are piling up on her shoulders, but she feels cast more for her name than her suitability to the role. I'm in my late forties and Hathaway, despite being at the start of that same decade in her own age, looks about two decades younger than me. That's good for her, but not so good for this specific role. Galitzine, on the other hand, is helped by his useful appearance, looking a bit younger than his actual age. I thought I might find his character a bit annoying, but he has such good chemistry with Hathaway that it was never a problem. Rubin is very good as the understanding teen who eventually struggles to deal with the reality of the situation, and Reid Scott is good at being the selfish, and eventually a bit jealous (of course), ex-husband.

It's fluff, and the very end scenes help to turn it into the fluffiest of fluff, but it's also very enjoyable. There is enough attention to detail to keep the ridiculousness feeling grounded in some kind of reality, the stars deliver star turns, and there are a few moments that will give great satisfaction to anyone who has ever had any kind of dream or fantasy about the situation at the heart of it.

7/10

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Netflix And Chill: The Lovebirds (2020)

Director Michael Showalter reteams with star Kumail Nanjiani (after their success with The Big Sick) for this comedy thriller that concerns a couple (Nanjiani and Issa Rae) who have the potential end of their relationship interrupted by an untimely murder. Not that there's ever such a thing as a timely murder.

Rae and Nanjiani are two solid leads, even as we meet them in the midst of growing tension. While in their car, a stranger (Paul Sparks) commandeers their vehicle, using it to kill a man on a bicycle that he was chasing, and then flees. Leilani (Rae) and Jibran (Nanjiani) do not want to stick around at the crime scene. They know things look bad for them, which means they need to show some initiative and try to find the killer. This brings them into contact with other bad people (such as Edie, played by Anna Camp), forces them to make up a story as they get friends helping them, and obviously has them reappraising how they view one another.

Written by Aaron Abrams and Brendan Gall, The Lovebirds is a film that doesn't do enough to help the talented leads. The main premise is very familiar, and could be used to add on a whole load of jokes, but it's all put together in a way that feels very paint-by-numbers. There's no tension here, which wouldn't be so bad if the laughs kept coming, but there's also not enough comedy, so little of it that the leads feel restricted by the way the script doesn't let them be as funny as fans know they can be.

Showalter goes through the motions with his direction, but he is equally responsible for failing his leads. Set-pieces are too low-key, the pacing feels off, despite the film coming in at just under the 90-minute mark, and the plot just feels like it's getting in the way of the characters being able to act in a way that could be much more entertaining.

I feel a bit patronising going on about how good both Rae and Najiani are, despite being hampered by the material, but they make the movie watchable. I have liked Nanjiani for a good few years now, but I wasn't familiar with Rae, who works wonderfully both on her own and alongside her co-star. Sparks is fine, with limited screentime, and Camp does her best to steal the scenes that she features in, and Andrene Ward-Hammond is a typically stolid cop trying to catch a criminal as some innocent people complicate the matter more than they should.

I did laugh, now and then, and there's a fun little punchline at the very end of the movie to pay off a small gag from earlier, but I spent most of the runtime just willing The Lovebirds to be better, for me and for the cast. It doesn't manage that. It just manages to be above average. Just. Not far enough above average to make it worth recommending though.

6/10

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The Big Sick (2017)

Written by Kumail Nanjiani and Emily V. Gordon (husband and wife), The Big Sick is a romantic comedy loosely based on how . . . Kumail Nanjiani met and fell in love with Emily V. Gordon. What could have seemed smug and self-indulgent ends up being something fully deserving of all the accolades it has received over the past few months. On the poster and Blu-ray cover you can see phrases like "easily one of the best rom-coms of the decade", "romantic and hilarious", and "sparkling and heartfelt", as well as a few five-star ratings to help sell it. And all of those statements and ratings, originating from sources as varied as the likes of Variety and Glamour, are absolutely correct.

Very much in line with the other films that have been helped into creation by producer Judd Apatow, this is a mix of comedy and drama that gives characters room to breath in a two-hour runtime. Unlike some of the other Apatow movies I could mention, however, this doesn't ever feel as if it is overstaying its welcome.

That is down to the main performances, and the fact that Nanjiani and Gordon have such a great story to spin into cinema gold. Director Michael Showalter doesn't concern himself too much with adding any bells or whistles, happy to rely on the characters and the dialogue, which is a smart decision on his part.

Although Nanjiani happily plays himself onscreen, his wife is portrayed by Zoe Kazan. Kazan is fine, although she spends a large portion of the movie offscreen, or visible on a hospital bed (hence the title, the plot is basically Kumail and Emily having a big fight and then Emily ending up hospitalised and placed in a medically induced coma, which can make it a bit awkward to kiss and make up). Holly Hunter and Ray Romano play Emily's worried parents, and they are both excellent, which is something I never thought I would say about Romano, considering I assumed Everybody Loves Raymond was a deliberately ironic sitcom about one of the most annoying men on the planet. Anupam Kher and Zenobia Shroff are both very good, playing Kumail's parents, and Adeel Akhtar is Kumail's brother, Naveed. Other comics are represented by Bo Burnham, Aidy Bryant, and Kurt Braunohler, and there's nobody in the supporting cast who drops the ball, including many not mentioned here.

There aren't any major set-pieces here, and few of the laughs aren't BIG laughs, but the laughs are surprisingly consistent, entwined nicely with the drama and the heart of the whole thing. This is from the script and the presentation of the material, but it would be remiss to undervalue just how much of the film succeeds thanks to the sheer likeability of Nanjiani. He has been putting in fun performances for a good few years now, often in material that isn't really deserving of his presence, and I hope we can now see him in some more lead roles.

9/10

The Big Sick is out now. Buy it here - The Big Sick at Amazon.co.uk

They Came Together (2014)

As it's Galentine's Day, this review can appear here today.

Amy Poehler and Paul Rudd star in this spoof of romantic comedies that manages to have its cake and eat it, thanks to the mix of smart gags, fun performances, and moments of extreme silliness.

Poehler is Molly, a typical rom-com lead. She's a bit of a klutz, runs a little candy store, and is mostly content with her life. Rudd is Joel, also a typical rom-com lead. He's "handsome, but in a nonthreatening way. Vaguely but not overtly Jewish." He also works for CRS, a major company that's just about to potentially put Molly out of business. The course of true love is not destined to be smooth for this couple, and the film shows their ups and downs.

Directed by David Wain, who also co-wrote the screenplay with Michael Showalter, this gets everything right when it comes to emulating the style of the movies being spoofed. New York is a major character, as pointed out a number of times, the protagonists start off by disliking one another, assorted friends are pigeonholed as nothing more than varying viewpoints for the leads to use as sounding boards, there's a montage or two, and the climax involves a bit of a race against the clock, a standard for most rom-coms.

This is all well and good, but the masterstroke comes from the fact that the movie is presented as a tale being told by Molly and Joel while they enjoy a dinner date with two friends, Karen (Ellie Kemper) and Kyle (Bill Hader). This allows for plenty of comments on the unfolding events, and also one or two details that we discover may simply be the result of overactive imaginations. 

Poehler and Rudd are both perfect in their roles, of course, and Hader and Kemper both have fun either pointing out, or sometimes missing, the obvious while being told this particular love story. Jason Mantzoukas and Melanie Lynskey play the two friends who think that they're about to bring two lovely people together to form one lovely couple, Teyonah Parris is the one woman working for Molly who also offers helpful advice, and there are a few great cameos to make you smile. Christopher Meloni is the big boss at CRS, and shows once again how great he is at comedy, Michael Ian Black is a grade-A douchebag (and a lot of fun with it), Cobie Smulders is the girl with Rudd at the very start of the movie, and Ed Helms is someone who may try to win over Poehler's character, despite not really having any chemistry with her. At all.

Not all of the gags hit, which is almost inevitable in a comedy like this, but you're never far away from something that could make you laugh out loud. Fans of those involved will certainly have a good time, and fans of romantic comedies may also find that there's still enough here to keep them amused, even as the conventions and cliches are being mocked at every turn. 

7/10

http://www.amazon.com/They-Came-Together-Christopher-Meloni/dp/B00KVFHBLK/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1415555914&sr=1-2&keywords=they+came+together