At first, Malcolm’s List lacks the charm and pace of a period outing. The characters are rather muted and the cuts are slow, indicating a sort of warm up phase for director Emma Holly Jones. Once Selina (a marvelous Freida Pinto) is brought into the game, the intrigue begins. As Julia, Zawe Ashton manages to draw ire, pity and admiration in a complicated and complex arc. Oliver Jackson-Cohen again shows off his chameleon skills in a comedic turn far off from his roles in Netflix’s “The Haunting” series, and Theo James is strong as The Captain. Sope Dirisu is an actor of great specificity and depth – just look to his chilling performance in His House – and he does not disappoint here as Malcolm (I would love to see him as Mr. Darcy). The scenes between him and his mother, an effective Doña Croll, are memorable and moving.

Pam Downe and Ray Ball’s one-two punch of costume and production design stand out with vibrancy. Tony Miller’s camera work settles for stable framings. It could use more creativity but it works. Amelia Warner’s music is lovely and playful, always adding a layer of innocent wanting. Here is one of her selections:

All in all, Mr. Malcolm’s List is a fine entry into the genre. Its dialogue is crisp and effective, its world is well thought out and the story takes some unexpected turns even while arriving at a familiar destination. The gossip culture which prevails in Bridgerton is proven narrow here, allowing for honesty and personal connections to break through. There is always more to mine within this genre and I hope as casting expands so too do the stories and perspectives.

Mr. Malcolm’s List is now playing in Theaters

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His abilities also extend to capturing a range of voices, from his middle-school aged brother (Evan Assante) to a mother longing for stability (Dakota Johnson) to a high school grad questioning if she’s already peaked (Odeya Rush). Considering Raiff pitched the film to Johnson without having a script ready to go, his world is built out with refreshing specificity.

Dakota Johnson has had an intriguing career path, from the beginnings of Fifty Shades of Grey to the weirdness of Luca Guadagnino’s Suspiria to her mysterious mother in The Lost Daughter. I can’t help but think of another actress, Kristen Stewart, who’s walked the line from B-movie fodder to complex fare. Yet, Johnson’s gift is her extraordinary maturity. She utters lines like a Chekhovian protagonist, weighted with years of toil. It helps that her chemistry with Raiff is off the charts. His smile, longing eyes and emotional range is impressive for his youth, and the wit of his writing shines through most charmingly when he delivers the one-liners. Though he is clearly an artist of many strengths, I hope he continues to take acting opportunities.

Leslie Mann is brilliant as Raiff’s bipolar mother, Assante is moving in his brotherly idolization and Raul Castillo is strong as a no-nonsense fiance. This is a strong ensemble all around, setting a foundation for technical elements to mirror rather than elevate quality. Raiff uses a hits-influenced soundtrack and electronic scoring to draw out emotions in a natural progression. Henry Hayes’ editing splices with flare, often cutting at the exact point when a joke has run its course. Cristina Dunlap’s camerawork allows for the unspoken to take on its own narrative – it is a film of tempting gazes. All in all, Raiff’s sophomore effort is a win and worked its way into my heart.

Cha Cha Real Smooth is now streaming on Apple TV+ and playing in select theaters

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In all seriousness though, Maverick is one of the most American films I’ve ever laid my eyes on – if we’re focusing on the part of America which favors formality and the unspoken over difficult conversations. The sound design reflects the tone, with interior scenes so quiet and repressed you wonder if it’s easier to be in the plane. The manipulative score rears its head to remind us that this is a film about heroes, love and forgiveness – as if we need the tip every two seconds. Kudos to editing team Eddie Hamilton and Chris Lebenzon for cutting fast enough to make us forget lesser scenes, and to Claudio Miranda for camerawork and framing that remains quite stunning throughout.

The only other element which saves this otherwise predictable sequel is the fantastic ensemble, who embody their often-lacking characters with admirable depth. Miles Teller shows off piano skills, strong characterization and his ability to draw out emotional range in plastic material. Jennifer Connelly gives strength to her extremely dull “love interest storyline” which feels like the shadow of cinema past haunting today. Glen Powell, Jon Hamm and Charles Parnell all turn in decent work as take-your-pick-army-guy. Of course, the main reason we’ve bought a ticket is to see Tom Cruise, and he doesn’t disappoint. Sure, we watch him give that strange smile as he tries to race a plane taking off with his motorcycle, but this is not young Cruise. He is assured, present and quite vulnerable in the more affecting moments – often involving the presence of Val Kilmer’s Iceman or Teller’s Rooster. He can be relied on to save the film from itself.

If you’re looking for a fun time at the movies where you can cheer, laugh, see amazing flight sequences and enjoy some Lady Gaga compositions, Top Gun is the film for you. If you’re looking for material which will challenge you or stick with you after the credits roll, stay home for this one.

Top Gun: Maverick is now playing in Theaters Everywhere

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