Starting off with clever meet-cute of the awkward Owen (Spike Fearn) falling for Emily (Sadie Soverall) on the dance floor where he works as a sound technician, Finding Emily begins in earnest when Owen discovers he’s missing one-digit from her phone number. With only her name to go by, his search begins.
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Like many romcoms, One Night Only gets a bit too cute for its own good. Set in an alternate reality where premarital sex has been outlawed except for one night a year, we get a glut of horny singles hitting on anything that moves. As far as a setup goes it’s not too bad, although the method by which the government tracks those having sex will clue you in on the kind of “logic” screenwriter Travis Braun‘s script will follow.
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I don’t know if writer/director Rudy Mancuso‘s 2024 coming of age romance ever fully lives up to its potential, getting lost in the latter half in an unconvincing love triangle and deciding puppets rather than music is the core to our quirky leading man, but it’s undeniable that at its best moments Música soars.
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Easily comparable to Who’s Afraid of Virginia Woolf?, both in its subject manner and its origins and staging from a stag play, The Invite is nothing more or less than an evening two couples spend together leading to arguments, arousal, suffering, and, ultimately, something nearing understanding. Although at times uncomfortable, it’s an evening you don’t want to miss.
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With Christopher Nolan‘s big-budget of adaptation looming, we take a quite different look at a film exploring Homer‘s classic tale. Written and directed by French New Wave director Jean-Luc Godard, 1963’s Contempt centers on playwright Paul Javal (Michel Piccoli), whose marriage falls apart after he agrees to help rework the script for American producer Jerry Prokosch (Jack Palance) and German director Fritz Lang‘s (playing an exaggerated version of himself) production of Homer’s The Odyssey.
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