Directed by Academy Award-winning director Warren Beatty, Rules Don’t Apply is a light-hearted film presenting a glorified look into early Hollywood through a fictionalized romance between a starlet and driver in the employ of billionaire Howard Hughes. Set in 1950s and 1960s Hollywood, the story follows the young and religious Frank Forbes, portrayed by rising star Alden Ehrenreich, who moves to Los Angeles in hopes of getting a wealthy benefactor to finance a real estate project. As the driver for many young actresses under contract with Hughes’ movie studio, Forbes falls in love with one of these women, a young and naive actress named Marla, played by the fresh-faced Lily Collins. While this budding romance, strictly forbidden by their boss, surreptitiously unfolds, we witness the hilariously absurd behavior of the notoriously peculiar Howard Hughes, played by Warren Beatty in his first acting role in almost 15 years. Over the course of the movie, Forbes, along with another driver played by Matthew Broderick, becomes a close confidant to the obscenely wealthy business executive, aviator, and movie producer who is evidently plagued with a whole host of mental problems. Much of the film’s charm comes from the zany and often laughable antics of Hughes, whether it be ordering several hundred gallons of banana nut ice cream or hiding away in a hotel suite. At times, the plot seems to be all over the place and too reliant on poking fun of Hughes. Although it looks nice on camera and is filled with a wide range of Hollywood A-listers, the movie does not feel as polished and satisfying as some of Warren Beatty’s other works. It comes across as more of a piece of nostalgia harking back to the pinnacle of Beatty’s career as an international sex symbol in the 1960s and 1970s. It also seems like a platform for many famous actors and actresses to simply have the opportunity to cameo in a movie alongside such a highly respected figure as Warren Beatty. Overall, the film does contain entertaining moments that work as cheap laughs deriving from the quirky nature of Hughes, but it ultimately falls short of the high expectations set by the return of such a talent as Warren Beatty. It should not be treated as more than a superficially amusing comedy whose greatest asset is Beatty’s depiction of the exceptionally strange historical figure Howard Hughes.

Directed by Rebecca Miller, the daughter of famed playwright Arthur Miller and wife of Daniel Day-Lewis, Maggie’s Plan is the quintessential indie rom-com, reminiscent of a Woody Allen comedy. It stars Greta Gerwig as Maggie, an insecure control freak living in New York who decides to have a baby on her own in order to make up for her failed love life. As described by the film’s title, she wants her life to follow according to her exact plans. However, her set course in life is unexpectedly altered when she meets an anthropologist named John played by Ethan Hawke. Unhappily married to Julianne Moore’s character, a world-renowned Danish anthropologist at Columbia, John gets advice from Maggie about his new novel that he is struggling to write. Eventually, John, feeling underappreciated by his wife, and Maggie, grasping to a new love interest, begin a world wind romantic affair that ultimately leads to his divorce. Forced to take care of John and his children, Maggie does not feel in control of her life and so she develops a new plan. She confides in her close friends humorously played by Bill Hader and Maya Rudolph that she wants to reunite John with his ex-wife. Throughout the movie, the viewer is taken on an unusual journey marked by many elements of screwball comedy, including Maggie’s encounters with a “pickle entrepreneur.” A staple of independent comedies, Gerwig gives a nuanced and often very funny performance as a neurotic who absurdly tries to destroy her love life simply to completely control her life. Furthermore, Hawke and Moore help to round out the film with their witty depiction of academic intellectuals replete with occasional drama and charm. Evoking the movie’s screwball nature, many of the scenes are scored by the hallmarks of a Woody Allen comedy: the music sounds like old-time jazz that has a playful and energetic spirit. Overall, I would recommend the film to all fans of romantic comedies and those looking for a lively and smart independent comedy, making for an enjoyable time at the movies.

Winner of the Jury Prize at the prestigious Cannes Film Festival in 2015, The Lobster may be one of the strangest movies you’ll ever see and it’s definitely an acquired taste. It is an absurd, Kafkaesque film set in a dystopian world in which humans turn into animals if they do not find love. Colin Farrell plays a newcomer at a matchmaking resort known simply as the Hotel where guests must go through preposterous activities to find a mate within 45 days or be transformed into an animal of their choosing. Accompanied by his brother who has been turned into a dog, he encounters quite the characters portrayed by an impressive ensemble cast, including Olivia Colman, John C. Reilly, and Ben Whishaw. Eventually, Farrell’s character finds his true soulmate outside the confines of forced love at the Hotel. His love played by Rachel Weisz is a part of a group called the Loners that escaped the Hotel and harshly punish those making romantic gestures. The story’s ridiculousness is underscored by the intentionally stoic, unemotional performances from the actors. None of the characters bat an eye even amidst truly confounding situations and dialogue so ludicrous that the audience cannot help but laugh. The subtle comic undertones reinforce the film’s satirical and allegorical messages about the absurdities of modern romance. It suggests that love cannot be mandated and does not always conform to a strict pattern. The structure of the Hotel mimics online dating and the feeling that there is a time clock on when people should find romance and get married. Beyond the effective use of the bizarre to perpetuate satire, the cinematography is remarkable in its own right. The dreary yet naturally beautiful setting of the isolated Hotel and woods next to an alpine lake under an almost constant fog creates an eerie and mystical atmosphere. Also, the random appearance of exotic animals, representing those unable to find a partner, visualizes the absurdity of the film’s premise. The score with discordant music and sound effects further accentuates the movie’s unique tone. The creative use of all these elements fashion a film that blends the weirdness of Wes Anderson, Charlie Kaufman, and David Lynch. Overall, I felt the film to be a well-executed and biting satire so utterly strange that audiences will either love it or hate it. It is definitely something that may be more appealing to film snobs, critics, and filmmakers.

Adapted from Jane Austen’s posthumously published novella Lady Susan written around 1794, Love and Friendship is a well-crafted intellectual comedy set in 18th century England among the aristocracy. It follows the exploits of Lady Susan Vernon, marvelously played by Kate Beckinsale, after the death of her rich husband. Attempting to escape her insufferable status as a dependent widow, she unexpectedly visits her in-laws’ country estate. She uses witty and cunning charm to manipulate her way through high society and maintain status by marrying any eligible wealthy aristocrat. The language used throughout the film feels as if it comes directly from the pages of a Jane Austen novel, complete with flowery and hifalutin words. The quick back-and-forth banter filled with pithy remarks reminded me of something written by Aaron Sorkin. Along with highbrow comedy, the film effectively incorporates moments of hilarious silliness. The dim-witted well-off bachelor Sir James Martin played by Tom Bennett steals many scenes with his buffoonery, including his musings on the word Churchill and discovery of peas. As a quintessential British period piece, the movie is brimming with sumptuous costumes set amongst palatial country estates and London townhouses and scored by playful classical music. The film posits itself as a self-aware, almost satirical comedy about the frivolities of aristocratic society. For example, before the first scene, each character is introduced with their own descriptive subtitle, including Sir James Martin being labeled as “a bit of a ‘rattle.'” Overall, I would recommend the movie to all lovers of Jane Austen and those looking for a sophisticated yet whimsical period comedy.