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    Movie Review

    Yes, God, Yes delivers big rewards that outstrip its small size

    Alex Bentley
    Jul 20, 2020 | 4:27 pm
    Yes, God, Yes delivers big rewards that outstrip its small size
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    Teen sex comedies have come a long way since the bawdy and, let’s face it, sexist days of the 1980 and 1990s. The majority of those featured male characters on a quest to lose their virginity or, at the very least, find an outlet for their ever-growing libido. It’s only been in the last few years, with films like Blockers, Booksmart, and now Yes, God, Yes that teen girls have been given their own showcases in the genre.

    Natalia Dyer of Stranger Things fame stars as Alice, who attends a Catholic high school that seems to have a preoccupation with sex, mostly on the anti side. Alice and her classmates, including best friend Laura (Francesca Reale), banter constantly about sex with barely any idea about what to do or what some racy terms actually mean. Meanwhile, they are subjected to sex ed classes led by Father Murphy (Timothy Simons) that go into intricate detail about the desires of boys and girls, only to insist that abstinence is the only acceptable route if they want to please God.

    Alice, who’s subjected to false rumors about a sexual encounter with a boy, is massively confused about the conflicting messages she’s receiving. She starts her exploration through an online chat with an anonymous stranger, and slowly but surely ramps up her search, even while she’s away at a church retreat. The push and pull between what her religion wants her to do and what her body is telling her is important threatens to drive her crazy.

    Written and directed by Karen Maine, who has a story credit on another button-pusher, Obvious Child, the film toes a fine line between being curious and being exploitative. With a setting of the early 2000s, the early scene with an anonymous online stranger gives off a queasy feeling, but Maine makes sure not to dwell on it, instead focusing on Alice’s unique urges.

    Similarly, even though Alice gives in to some self-love on a few occasions, the scenes are relatively chaste, with the only nudity coming courtesy of some online images and videos. Maine is more concerned with giving Alice the space to try to get all of her questions answered instead of objectifying her or giving the impression that she’s doing something wrong.

    Instead, the entire film is a condemnation of the hypocrisy of the teachings of the Catholic Church, with the leaders being some of the biggest hypocrites. Being a comedy, it keeps things on the light side, juxtaposing the self-righteousness of the supposed biggest believers with actions that severely undercut those beliefs.

    Dyer is an ideal person to play such an innocent yet inquisitive character. She has the look of someone who’s never stepped over the line in her whole life, so when she does run afoul of others, the push and pull of desire and guilt is palpable. Supporting actors like Alisha Boe and Wolfgang Novogratz play pious-but-not-spotless characters well, while Simons knocks the crucial role of Father Murphy out of the park.

    Taking inspiration from her own life, Maine gives a unique twist on a teen sex comedy while also exposing the fact that many authority figures don’t practice what they preach. Consequently, Yes, God, Yes is a small film that winds up delivering outsized rewards.

    ---

    Yes, God, Yes is screening via select virtual cinemas on July 24. It will debut on VOD/digital options like Vudu, Apple TV, and Google Play on July 28.

    Natalia Dyer in Yes, God, Yes.

    Natalia Dyer in Yes, God, Yes
    Photo courtesy of Vertical Entertainment
    Natalia Dyer in Yes, God, Yes.
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    Movie Review

    Bob Odenkirk is back as the everyman-turned-hero in new movie 'Normal'

    Alex Bentley
    Apr 16, 2026 | 4:16 pm
    Bob Odenkirk in Normal
    Photo courtesy of Magnolia Pictures
    Bob Odenkirk in Normal.

    Screenwriter Derek Kolstad, who wrote the first three John Wick movies, has essentially had a blank check to do what he wants in the movie landscape since 2014. In recent years that has meant writing the action series Nobody for Bob Odenkirk, who has turned from a comedian into an unlikely action star in his sixties. Kolstad and Odenkirk are teaming up again in Normal.

    A film that tries to evoke Fargo in multiple ways, Normal finds Ulysses Richardson (Odenkirk) serving as a temporary sheriff for the small town of Normal, Minnesota after the previous sheriff died. Knowing he’s just a steward until a new sheriff is elected, Ulysses takes a live-and-let-live approach to the job, letting the deputies (Ryan Allen and Billy MacLellan) do the grunt work and trying to stay out of everyone’s way, including Mayor Kibner (Henry Winkler).

    A bank robbery attempt by two non-citizens upsets his best-laid plans in more ways than he can imagine. Not only is he forced to confront a crime not often seen in a town like Normal, but the robbery uncovers secrets that turn the film into an all-out bloodbath. Soon, almost everyone in town becomes involved in what comes to resemble a war, along with — you guessed it — Yakuza henchmen from Japan.

    Directed by Ben Wheatley and written by Kolstad, the film is a slight twist on the everyman-turned-hero character Odenkirk played in the two Nobody films. While Ulysses is in law enforcement, he prefers to use words instead of weapons, and it’s only when he’s pushed to the brink that he crosses that line. Naturally, his skills are beyond what anyone would expect of him, allowing him to match up well with people half his age.

    The film is not a comedy in the traditional sense, but instead aims for laughs by catching the audience off-guard with its ultraviolence. Some characters are dispatched in shockingly unexpected ways, with one of the only natural reactions to the jarring nature of their deaths being laughter. That’s not necessarily the case for other killings, which range from blasé to sadistic, and the only reason they count as entertainment is because the filmmakers have primed the audience to accept them as such.

    After a relatively solid setup, where Wheatley and Kolstad seem to take their time getting to know the main characters, the second half of the film is pure action that dispenses with good storytelling. Like many action movies, there are double crosses, surprise revelations, and more, but the filmmakers don’t seem to care about making sense of any character arcs. All they care about is delivering mayhem, and they succeed on that front.

    Odenkirk has perfected the mild-yet-intimidating nature of his action characters, and it is satisfying to see him get the better of those who have done him wrong. He doesn’t run or jump like fellow 63-year-old Tom Cruise, but — with the help of fast-paced editing — he still makes for a credible action hero. The only other actors of any note in the film are Winkler, who’s a nice presence with his sardonic personality, and Lena Headey, whose small role doesn't match up with her experience.

    You have to have a certain mindset to enjoy a film like Normal, but if you can abide its over-the-top bloodiness, it’s a serviceable action film. Few would have expected Odenkirk to take on these kinds of roles at this late stage of his career, but he’s making the most of his opportunities.

    ---

    Normal opens in theaters on April 17.

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