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    Movie Review

    COVID-set film Together revels in hostile quarantine relationship

    Alex Bentley
    Aug 26, 2021 | 2:34 pm
    COVID-set film Together revels in hostile quarantine relationship
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    There have already been a number of movies that have dealt with the COVID-19 pandemic in one way or another, from the of-the-moment documentary Totally Under Control to lighter fare like the Anne Hathaway-Chiwetel Ejiofor heist rom-com Locked Down. It’s unclear how much of an appetite moviegoers have for stories about an awful thing that not only happened to everyone, but is still actively going on, but creativity can sometimes be at its best when things are worst.

    Viewers will need to exercise a good amount of patience with the new film Together, which follows an unnamed couple (James McAvoy and Sharon Horgan) as they go through the ups-and-downs of quarantining together in London, along with their son, Artie (Samuel Logan). Instead of being happy to have someone else to lean on during such a trying time, though, it’s abundantly clear from the get-go that the two loathe each other.

    Directed by Stephen Daldry and Justin Martin, and written by Dennis Kelly, the film starts on March 24, 2020 and checks in on the couple five more times over the following year. Each scene tells a story about one aspect of their lives, whether it’s their personal history or things they’re experiencing currently, and the fast-paced nature of the dialogue coupled with the very British local references often makes it hard to keep up.

    Instead of the audience being a fly on the wall for their uncomfortable conversations/arguments, the film involves viewers by having the two actors directly address the camera for most of their dialogue. The technique is never explained; they’re not filming a documentary a la The Office and they’re not talking to Artie, as he spends most of his time in other rooms, silently absorbing the nastiness his parents are dishing out. It’s one of those things viewers just to have accept if they hope to connect with the film at all.

    As if anyone watching needed reminders, the film deals with many of the fears and issues we all dealt with in the early days of the pandemic, such as toilet paper hoarding, wiping down groceries, and worrying about family in nursing homes. The beginning of each scene also provides updates on the number of people who had died of COVID in the United Kingdom at that point in time, making things extra dour.

    Nothing about the film, especially its central relationship, is sugarcoated. Instead of viewing things through the prism of “we’re all in this together,” the two people are initially very difficult to empathize with because of their harsh language and obvious disdain for each other. Naturally, things change over the course of the year, but only slightly. It takes a hearty viewer to want to see the film through to the end given the constant barrage of negativity.

    But what ultimately makes the film worthwhile are the performances of McAvoy and Horgan. The story reverses the expectations for a couple forced to spend every waking minute with each other, and the two actors work so well together that every syllable of hate they spew at each other is instantly believable. You may despise the journey the characters take, but it’s hard to find fault with the way the actors portray it.

    Everyone in the world is hoping that the pandemic will be a memory sooner rather than later, so a film such as Together can be a tough pill to swallow while it’s still going on. Add on the hostility the characters have for each other, and it’s difficult to think the film will be one sought out by many moviegoers, even with some compelling performances.

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    Together opens in select theaters on August 27; it will be available via premium video on demand on September 14.

    James McAvoy and Sharon Horgan in Together.

    James McAvoy and Sharon Horgan in Together
    Photo by Peter Mountain
    James McAvoy and Sharon Horgan in Together.
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    Movie Review

    Supergirl loses the sense of fun that Superman brought to DC Comics films

    Alex Bentley
    Jun 26, 2026 | 12:00 pm
    Milly Alcock in Supergirl
    Photo courtesy of DC Studios and Warner Bros. Pictures
    Milly Alcock in Supergirl.

    The new Superman in 2025 brought with a renewed sense of optimism for, if not the concept of the comic book movie, then at least the DC Comics universe. After more than a decade of DC films that felt mostly creatively bankrupt, the leadership of James Gunn gave the story a sense of fun. That included the brief introduction of Kara Zor-El, aka Supergirl, who’s now getting her own showcase in, naturally, Supergirl.

    When we first met her in Superman, Supergirl was in rough shape, arriving at the Fortress of Solitude visibly inebriated. Nothing has changed at the beginning of this film, save for her aimlessly traveling around the universe with her rambunctious dog, Krypto. One of her random stops puts her in the same bar as Ruthye (Eve Ridley), who is looking for help tracking down Krem (Matthias Schoenaerts) and a group known as the Brigands after they brutally murdered her family.

    Kara is initially loath to offer aid, but when Krem shoots a poison dart into Krypto while escaping, her motivation goes way up, especially since Krem holds the antidote. Kara, with Ruthye doggedly following her, uses every means available to her to find Krem, a journey that is hampered by galaxies having different colored suns than the one that gives her powers, the yellow sun.

    Directed by Craig Gillespie and written by Ana Nogueira, the film is a big step back in the fun category, not least because Supergirl is deep in her feelings for much of the film. Her personal trauma, which is detailed in occasional flashbacks, gives a reason for her depression, but fails to land fully. The story seems to want everyone to be sad, as it includes a child trafficking ring and multiple instances of families being murdered.

    Milly Alcock and Krypto in Supergirl Milly Alcock and Krypto in Supergirl.Photo courtesy of Warner Bros. Pictures

    To try to counteract that downer material, the filmmakers give Supergirl many opportunities to show off her fighting skills. While still CGI-heavy, the action scenes contain enough of a semblance of reality that they feel exciting. Unfortunately, this is undercut by the inclusion of several slow-motion sequences, giving the impression that the filmmakers didn’t trust the actors to deliver the goods on a consistent basis.

    Superman (David Corenswet) makes a handful of appearances in the film, and while his presence is welcome given how well the character came across in the previous movie, it also doesn’t allow Supergirl to become her own person. Almost everything she does is colored by either her cousin or her parents, and since her powers are identical to those of Superman, there is very little that makes her story unique aside from how she’s dealing with the fallout.

    Alcock (House of the Dragon, Sirens) gives an appealing performance despite her character being drunk and/or moody most of the time. She definitely sells what Supergirl is going through, so if given a better story in a future film, she’s proven her capability. Schoenaerts makes for a pretty good villain, although he’s aided by a look that includes a face full of studs. Jason Momoa has a memorable supporting role as the bounty hunter Lobo, even if his character doesn’t add much to the story.

    While not a full-on disaster, Supergirl does not continue the momentum that Superman started. With a story that’s more concerned with showing audiences death scenes than a hero saving people, the film doesn’t seem to understand the appeal of a character like Supergirl or how to make her someone audiences will return to over and over again.

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    Supergirl is now playing in theaters.

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