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Australian Adventures in MILF-sitting. The jokes about someone’s “Outback” almost write themselves. One cannot help but note that this film very much stacks its deck. The scenario couldn’t possibly play out if the women in question were not of the order of leads Naomi watts and Robin Wright. (Fun fact: Watts is only 11 days older than your correspondent.) As it is, this tale is heavily informed as a narrative about wealthy, unbothered, Pretty Perfect PeopleTM, and thus it follows that the story seems to lack a certain amount of universality—that thing that is a hallmark of all truly great stories (if not all art). Given that perspective, I struggle to come to a conclusion about the value of this movie. The actions of the characters come across as somewhat natural, even if also reprehensible. Yes, there are consequences of the actions, but it is debatable—and the film implies this—whether or not those (rather late-arriving) negative consequences are true deal-breakers. Apart from critical analysis of the narrative, one cannot help but at least report that the performances are very good, particularly the female leads. Watching this 2013 film some 13 years later adds to the sense that these middle-aged women are even further out of bounds for the younger actors than they actually were at the time of filming. And, of course, one must recognize that there's a certain amount of female wish fulfillment under-girding this story. Also, the Australian settings—particularly the beach scenes—provide at least as much visual appeal as the famously good-looking actresses. It’s a tough call; if you’re really into stories about complex interpersonal dynamics, you may find this film right up your alley. If not, at least you get a glimpse of the lives of the other (substantially less than) half.

Captain Marvel

Talk about teaching to the test. This flick seems like it was generated specifically to be a Bechdel-proof exercise in superhero storytelling. That's not to say it's really all that different from other entries in the genre; there's a weird-origin setup, plenty of visual razzle-dazzle, the typical climax--heavy on spectacle while somewhat light on thoughtfulness--plus a sprinkling of oddly British aliens, along with multiple sequel setups. Some of this stuff comes out of chronological order, which comes across as less narrative creativity and more jumbled mess. On the other hand, there is some satisfying interplay between Alison Brie and Samuel Jackson, and Brie is perfectly easy on the eyes, which helps make watching this movie relatively effortless. I'm not sure this one was particularly necessary, other than to check off a diversity form box, but it's not especially burdensome either. You can kiss this girl, and you'll probably like it; I'm just not sure you'll fall in love.

Ready Player One

Uh, why exactly would everyone in 2045 be profoundly obsessed with the music and pop culture of the eighties? Well, actually, they wouldn't be. But filmmakers who grew up in the eighties and thus see the decade of their youth as their only reference point...well there's your problem. The '80s referentialism has now become de rigeur in today's tentpole productions, and this one is awash in it. Even as a child of the era, I didn't find the choice to be particularly appealing--or, for that matter, believable within the movie's near-future context. What also hurt was the film's poor concept and execution. This flick presents near constant spectacle stitched together with clunky exposition. And then, worst of all, when you get to the end, the story rejects the obvious climax--destroy the damn thing!--and has the characters, who should have reason to feel otherwise, choosing to swallow the dystopia almost whole. This despite two-plus hours of evidence that we're witnessing a nightmare future. Maybe the only good thing about this movie is how roundly it was rejected at the original box office. Perhaps, in that fact, we can see that there's hope for humanity yet.

Darkest Hour

It's hard to believe that Winston Churchill, of all people, was ever so wracked with doubt. The presence of such a questionable dramatic element suggests this film is less biography and more a movie with a message. No doubt, in our uncertain age, it is elevating to be reminded that courage can be found--indeed, sometimes springs forth from--the bleakest of circumstances. That example is aided considerably by Gary Oldman's lead performance; the veteran actor so thoroughly inhabits his role that he is almost unrecognizable. It's good work, to be sure, and the result is mostly engrossing and entertaining, but you can't ever really put aside the idea that you're watching hagiography, not biography or history. That awareness may temper your viewing experience to slightly less than what it should be--but that's still more than good enough to win the moment, or the hour (or two).