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    Movie Review

    Anne Hathaway gets romantic with younger man in The Idea of You

    Alex Bentley
    May 3, 2024 | 11:36 am
    Nicholas Galitzine and Anne Hathaway in The Idea of You

    Nicholas Galitzine and Anne Hathaway in The Idea of You.

    Photo courtesy of Prime Video

    Despite the fact that she has continued working steadily since winning an Oscar for 2012’s Les Misérables, Anne Hathaway’s status as an A-list Hollywood star has faded somewhat. Following her charming turn in 2015’s The Intern, her recent filmography is mostly full of supporting roles or lesser-known films. Even hits like Alice Through the Looking Glass and Ocean’s 8 have failed to maintain any kind of cultural cachet.

    All of which is to say that it’s great to get a reminder of her notable acting talent, which she shows off in new and interesting ways in The Idea of You. She plays Solène, a 40-year-old art gallery owner who’s also the divorced mother of 17-year-old Izzy (Ella Rubin). When her ex-husband Daniel (Reid Scott) bails on a planned trip to Coachella with Izzy, Solène chaperones instead, leading to a meet-cute with the lead singer of boy band August Moon, the 24-year-old Hayes Campbell (Nicholas Galitzine).

    A follow-up visit by Hayes to Solène’s art gallery leads to them embarking on a love affair, with Hayes convincing Solène to accompany him on the European leg of the band’s tour. Through a sharing of their respective life traumas and a love of art, the two are soon enraptured with each other. They do their best to ignore how the May-December aspect of their relationship will be viewed by the world at large until it inevitably comes to a head.

    Directed by Michael Showalter and written by Showalter and Jennifer Westfeldt, the film may make you look at Hathaway in an entirely new light. Although she has played both a wife and mother in previous roles, she feels like a fully mature woman in this part. Some may quibble with the character’s choices, including fans of Robinne Lee’s source novel, but Hathaway uses Solène’s strengths and vulnerabilities to her advantage, giving her best performance in recent memory.

    Those ruing the lack of romance in modern movies will find plenty to enjoy in this film. Showalter and Westfeldt do an effective job of portraying Hayes and Solène as people who would legitimately be attracted to one another both physically and mentally, and their scenes together have a palpable spark to them. Although the filmmakers give somewhat short shrift to the complicating factors that would affect such a relationship in the real world, the story remains grounded enough to stay believable in the world of the movie.

    Also helpful in establishing the credibility of the story are the songs sung by August Moon, written by Savan Kotecha and Carl Falk. Each of the songs played in the film are legitimate bops, ones you could easily see making the fictional boy band popular enough to be headliners at Coachella. Galitizine is credited as the singer on all of the original songs, and his vocal chops make his performance feel more authentic as well.

    After a solid first hour, the film does become a little fast and loose in the second hour. There’s more telling and less showing of the mother-daughter bond that Solène and Izzy share, and the film rushes through the impact that Solène and Hayes’ relationship has on Izzy. In fact, pretty much every character outside of the main duo could have been fleshed out more to give more feeling to the events toward the end of the film.

    Still, The Idea of You has more hits than misses, with a compelling lead performance by Hathaway, strong chemistry with rising star Galitzine, and songs that could become hits in the real world. With more roles like this, Hathaway could be on her way to a strong second half of her career.

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    The Idea of You is now streaming on Prime Video.

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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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