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    Movie Review

    Amy Poehler's Moxie empowers teen girls in fight against toxic masculinity

    Alex Bentley
    Mar 3, 2021 | 9:43 am
    Amy Poehler's Moxie empowers teen girls in fight against toxic masculinity
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    For way too long, the stories of boys and men have been prioritized in Hollywood and beyond. In fact, it’s only been in the last few years, that films like Blockers, Booksmart, and Yes, God, Yes, which offer a young female perspective on screen and female leadership behind the scenes, have finally started to come to the forefront.

    The latest in that lineage is Moxie, which comes off as a combination between the light airiness of a teen comedy and the righteous indignation of Promising Young Woman. Moxie is not a person but rather an idea thought up by Vivian (Hadley Robinson), a brainy-but-shy high schooler who rarely oversteps her bounds. But the arrival of new student Lucy (Alycia Pascual-Peña), who’s unafraid to stand up for herself, and a series of small-to-large inciting events awaken a new side of Vivian.

    Soon she’s digging into the protest history of her mom (Amy Poehler) to create an anonymous zine she dubs Moxie to call out the rampant toxic masculinity and culture that supports it at her school. Slowly but surely, Moxie builds a loyal following, with supporters protesting in a variety of increasingly bold ways.

    Directed by Poehler and adapted by Tamara Chestna and Dylan Meyer from the novel by Houston English teacher Jennifer Mathieu, the film is different from most teen movies in that it offers a broad range of viewpoints and tries to flesh out its main characters. Vivian’s best friend Claudia (Lauren Tsai), is Chinese, and the initial Moxie group features mostly Black and Latino girls. Without being condescending to them, the film gives these characters the opportunity to comment and expand upon Vivian’s message.

    While the film is mostly light in tone, it doesn’t back away from the seriousness of the topics that arise as part of the story. Underneath the fun of seeing these girls taking charge and trying to right the wrongs of their school lies genuine hurt that’s too often experienced by women in the real world. The filmmakers take care to illuminate various injustices and crimes without coming off as wishy-washy or preachy.

    The combination of feminism and romance has been antithetical in some other films, but Poehler and her team make it work through Vivian’s crush on Seth (Nico Hiraga). True, Seth is the hunky ideal of a feminist ally, but his support allows Vivian to become even more confident in her new outlook. Their bond also belies the concept that any woman who’s interested in advancing the cause for females is a man-hater.

    Robinson, previously best known for playing creepy twins in the Amazon series Utopia, does a great job at making Vivian come out of her shell in a believable way. She’s matched by Pascual-Peña, who’s magnetic every time she comes on screen. While the film belongs to the younger up-and-coming actors, the presence of well-known people like Poehler, Marcia Gay Harden, Ike Barinholtz, and Clark Gregg help the film navigate through some of its sticky points.

    Moxie is a blast of pure energy that proves that stories centered on and made by women need to continue being highlighted. The fact that it can deliver its serious point in a highly entertaining way makes the case that audiences need more movies like it, and the sooner the better.

    ---

    Moxie is now streaming exclusively on Netflix.

    Nico Hiraga, Amy Poehler, and Hadley Robinson in Moxie.

    Nico Hiraga, Amy Poehler, and Hadley Robinson in Moxie
    Photo by Colleen Hayes/Netflix
    Nico Hiraga, Amy Poehler, and Hadley Robinson in Moxie.
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    Movie Review

    Remake of Schwarzenegger classic The Running Man stumbles

    Alex Bentley
    Nov 13, 2025 | 2:21 pm
    Glen Powell in The Running Man
    Photo courtesy of Paramount Pictures
    Glen Powell in The Running Man.

    For all its cheesy ‘80s greatness, the original version of The Running Man starring Arnold Schwarzenegger was a very loose adaptation of the novel by Stephen King. For the new remake, writer/director Edgar Wright has tried to hue much closer to the story laid out in the book, a decision that has both its positive and negative aspects.

    Glen Powell takes over for Schwarzenegger as Ben Richards, a family man/hothead who can’t seem to hold a job in the dystopian America in which he lives. Desperate to take care of his family, he applies to be on one of the many game shows fed to the masses that promise riches in exchange for humiliation or worse. Thanks to his temper, Ben is chosen for the most popular one of all, The Running Man, in which contestants must survive 30 days while hunters, as well as the general population, track them down.

    Given a 12-hour head start, Ben earns money for every day he survives, as well as every hunter he eliminates. Since he only has a relatively small amount of money to use as he pleases, Ben must rely on friendly citizens who are willing to put their own lives on the line to help him. That’s a task made even more difficult as the gamemakers, led by Dan Killian (Josh Brolin), use advanced AI to manipulate footage of Ben to make him seem like a guy for which no one should root.

    Co-written by Michael Bacall, the film is shockingly uninteresting, working neither as an exciting action film, a fun quippy comedy, or social commentary. The biggest problem is that Wright seems to have no interest in developing any of his characters, starting with Ben. Our introduction to the protagonist is him trying to get his job back, a situation for which there is little context even after we’re beaten over the head with exposition.

    The situation in which Ben finds himself should be easy to make sympathetic, but Wright and Bacall speed through scenes that might have emphasized that aspect in favor of ones that make the story less personal. The filmmakers really want to showcase the supposed antagonistic relationship between Ben and Dan (and the system which Dan represents), but all that effort results in little drama.

    Ben has a number of close calls, and while those scenes are full of action and violence, almost every one of them feels emotionally inert, as if there was nothing at stake. It doesn’t help that Wright doesn’t set the scene well, making it unclear how far Ben has traveled or who/what he’s up against. There are times when Ben feels surrounded and others when he can walk freely, weird for a society that’s supposed to be under almost complete surveillance.

    Powell has been touted as a movie star in the making for several years following his turn in Top Gun: Maverick, but he does little here to make that label stick. With no consistent co-star thanks to the structure of the story, he’s required to carry the film, and he just doesn’t have the juice that a true movie star is supposed to have. Nobody else is served well by the scattershot film, including normally reliable people like Brolin, Colman Domingo, Michael Cera, and Lee Pace.

    The Running Man is a big misfire by Wright and a blow to Powell’s star power. On the surface, it has all the hallmarks of an action thriller with a side of social commentary, but nothing it does or says lands in any meaningful way. Schwarzenegger’s one-liners in the original film may have been goofy and over-the-top, but at least they made the movie memorable, which is way more than can be said of the remake.

    ---

    The Running Man opens in theaters on November 14.

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