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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

    Podcaster lets creepy noises get under her skin in Undertone

    Alex Bentley
    Mar 13, 2026 | 10:30 am
    Nina Kiri in Undertone
    Photo courtsy of A24
    Nina Kiri in Undertone.

    While the horror genre is still capable of producing some innovative filmmaking, most of the output tends to fall back on jump scares and other tropes to deliver their terror. So when a film like the new Undertone tries something different, it should be applauded for the effort, even if it’s not as successful in its execution.

    Evy (Nina Kiri) is a podcaster who co-hosts a show called Undertone, which focuses on paranormal videos and sounds they find on the internet. Her co-host, Justin (Adam DiMarco), lives in London, so - for kind of contrived reasons - in order to make the time difference between them work, Evy records at around 3 am her time. Evy - who lives at home with her bedridden, dying mother - is the skeptic of the two, consistently debunking clips that Justin presents to her.

    Her doubts are tested when Justin brings in a series of 10 audio clips that purport to be about a boyfriend recording his girlfriend as she talks in her sleep. The audio begins in a lighthearted manner and quickly turns creepy and then sinister as unexplained things start happening. Evy senses that what she’s hearing is bleeding into her own world, especially when inexplicable actions take place in her mother’s bedroom.

    Written and directed by first-time feature filmmaker Ian Tuason, the film is effective early on when it introduces the story concept. Making great use of sound design, Tuason essentially puts the audience inside Evy’s head, where every little sound is heightened. Setting the podcast sessions in the middle of the night ups the anxiety level for both her and the audience.

    However, as the film goes along it gets a little tedious watching Evy listen to the audio, even as Tuason attempts to keep the film dynamic by moving the camera around her. The premise of the story - progressively going through 10 clips - and Tuason’s framing of shots that focus as much on the background as they do on Evy seem to promise more interesting results than actually transpire.

    What ultimately holds the film down more than anything is its lack of different viewpoints. The only other person who’s actually seen is Evy’s mother, who is unable to speak. Evy speaks to Justin, another friend, and a doctor over the course of the story, and while each broadens our understanding of Evy somewhat, none of them make her a truly three-dimensional person. Getting a little more information about her history might have helped the story work better.

    Kiri does her level best to vary her acting in the various podcast scenes, and even when they start to get repetitive, she remains compelling and watchable. It’s difficult to judge the other actors based on audio alone, but knowing that DiMarco also starred in season 2 of The White Lotus helps to visualize him and his acting style.

    Undertone does well in creating a spine-chilling mood, but it needed something beyond that to become a truly great horror movie. Tuason shows some promise as a filmmaker, especially in the way he uses the camera to create tension, but a more complete story will serve him better the next time around.

    ---

    Undertone is now playing in theaters,

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