The Little Hours is an anarchic fit of physical, sexual and verbal madness that only gets more explosively hysterical as events progress.

As bits of fluffy fun are concerned Lost in Paris is a dance of delicious amusements, watching it an absolute pleasure I’m certain to indulge in whenever the opportunity to do so might fortuitously arise.

[Having] us walk the same mile they do in shoes they themselves are wearing is a therapeutically evocative means to an exceedingly profound end, Band Aid hitting so many right notes any false ones it might inadvertently strike are lost in a symphony of reflective magnificence I could listen to for days on end with no hesitation whatsoever.

“I think in order to try and push back against some of those double standards you have to create opportunities for women in departments where they’re rarely given them. I also knew that, as a woman, there’s a part of me that liked the idea of surrounding myself with other women for this first directorial effort.”
– Zoe Lister-Jones

Elliott nails every scene. It’s a superlative turn, and I’m hard-pressed to think of another actor who could have brought the same sort of lived-in gravitas to the role.

“But beyond that, the movie is actually subversive, it’s smart and it’s got some real poignant things to say, even if they are often being said with a wink. That stuff, the friendship, the celebration of creativity, those are my favorite aspects of the movie. I want people to feel the same.”
– David Soren

Stoller and Soren do a fine job making this adventure in growing up entertaining for kid and adult alike, and while I can’t foresee Captain Underpants: The First Epic Adventure spawning any additional cinematic chapters in George and Harold’s heroic tale, if it sends viewers to the library and the bookstore to discover what happens next that’s perfectly fine by me.

“This is fantasy come true. But I was so strong about that fantasy that it hasn’t come as a surprise that it has happened. What I can never stop thinking is how lucky I am that I’m the one who got to do it.”

There’s a heck of a lot to like about writer/director Stephen Dunn’s feature-length narrative debut Closet Monster. It’s an intriguing film, one that has more to say about sexuality and gender than it initially appears, things revolving around a main character who exhibits a ton of genre stereotypes only to burst free of most of them as the story rolls along to its conclusion.