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    Movie Review

    Netflix's Senior Year cements Rebel Wilson as a comedic force

    Alex Bentley
    May 13, 2022 | 9:09 am
    Netflix's Senior Year cements Rebel Wilson as a comedic force
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    Ever since Rebel Wilson had her breakout in 2011’s Bridesmaids, her comedic persona has been built on her quick wit, her natural Australian accent, and her physicality due to her body size being larger than her co-stars. But Wilson made a choice in 2020 to lose a good amount of weight, and her new Netflix film Senior Year is her first chance to show that she’s funny at any size.

    Wilson plays Stephanie, a 37-year-old woman who comes out of a 20-year coma after a high school cheerleading accident. Obsessed with being popular when she was younger, she convinces her best friend Martha (Mary Holland), who’s now the principal at their high school, to let her complete her senior year.

    She’s soon confronted by the fact that the world, and specifically high school life, has changed mightily during her absence. Smartphones and social media now dominate the landscape, and popularity is dependent on things like the number of Instagram followers someone has rather than, say, being the captain of the cheerleading squad. But Stephanie is no wallflower, and she sets out to bring as much of 2002 to 2022 as she can.

    Directed by Alex Hardcastle and written by Andrew Knauer, Arthur Pielli, and Brandon Scott Jones, the film is notable for how well it plays with the tropes of high school movies while subverting them at the same time.

    Stephanie becomes quick friends with Janet (Avantika), an Indian girl; Yaz (Joshua Colley), a gay boy; and Neil (Jeremy Ray Taylor), a slightly chubby boy, an oddball group that would normally be played for laughs because of their outsider status. But it soon becomes clear that they have forged their own path and are completely comfortable with their spots in the social structure of their school.

    Likewise, Stephanie’s new nemesis, Brie (Jade Bender), is the daughter of her old nemesis, Tiffany (Zoë Chao), but the film presents her as a multi-dimensional person. She still wields her popularity like a queen with a scepter, but she also believes in protecting the environment and has a boyfriend, Lance (Michael Cimino), who’s unafraid to play with gender norms in his clothing.

    The filmmakers also do a great job making jokes about obvious things and then quickly moving on. Much could be made about how Stephanie is unfamiliar with technological advances, but after a series of small jokes, she’s using them just like anyone else. They also don’t dwell much on her being older than everyone else; her interactions with old classmates is enough to drive home the point, and so they just let her act like a normal student while at school.

    One of the best decisions the filmmakers make is allowing time to set up the story properly. The film begins with the story of the younger Stephanie (Angourie Rice), and they spend a good 15 minutes detailing every aspect of her life. They lay the groundwork for many of the jokes that come later in the film here, and those jokes wouldn’t work nearly as well had the opening sequence been just a few minutes. It also allows for the filmmakers to continually compare and contrast life in the early 2000s to life in 2022, jokes that land nearly every time they bring them out.

    Wilson has always been a very confident actor, and she controls the action in every scene that she’s in. While her newly svelte body plays a factor in how the character is portrayed, it’s her charisma and fearlessness that make her extremely funny. The long list of supporting actors complement her fantastically, with special notice going to Chris Parnell as her dad, Chao, Bender, Colley, and Avantika.

    Senior Year could have been just another high school comedy that uses the stereotypical jokes we all recognize. But it rises way above that level thanks to some stellar writing and a lead performance by Wilson that cements her as one of the best comedic actors of her generation.

    ---

    Senior Year debuts on Netflix on May 13.

    Zoë Chao and Justin Hartley in Senior Year.

    Zo\u00eb Chao and Justin Hartley in Senior Year
    Photo by Boris Martin/Netflix
    Zoë Chao and Justin Hartley in Senior Year.
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    Movie Review

    Film sequel Avatar: Fire and Ash is a technical and visual feast

    Alex Bentley
    Dec 18, 2025 | 3:15 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

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    Avatar: Fire and Ash opens in theaters on December 19.

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