The abandoned woman in the Catherine Lacey short story, “Because You Have To” (from Certain American States, 2018), does not quite do things, or refuse to do things, Because You Have To. She has been a criminal and still can be. Currently, though, she lives in a milieu from which she is emotionally disconnected. “I don’t know what to do now,” she observes, “a state I am so familiar with it feels like my only true home.”

But for the woman, her milieu is merely perplexing, as is her behavior. For her landlady, “broke and jobless,” it is agonizing. Presumably both must stay there . . . Because You Have To.

Lacey has written a not wholly atypical but still canny and sobering story. Hardly humorless too.

The protagonist in the film Corpus Christi (2019), Daniel, released from a reformatory, is a serious sinner who would like to become a Catholic priest, and to find redemption, but must naughtily settle for operating as a fake priest instead. Curiously, he becomes a better man. In the parish there are unforgiving people and Daniel declares that forgiveness is necessary since to forgive is to love. Just so!

Still, this fake priest is a fake “priest of God.” He is hurt by the world and by himself. In fact there is a particular level on which the one thing missing from Daniel’s evolving spiritual life is suffering, but it doesn’t stay missing. This is just one level, though.

Corpus Christi is a powerful movie (directed by Jan Komasa) with an incisive screenplay (by Mateusz Pacewicz). Bartosz Bielenia is compelling as Daniel, and such actors as Aleksandra Konieczna (Lidia) and Leszek Lichota (the mayor) are superb in their depth. This Polish work may be a masterpiece.

(In Polish with English subtitles)

Bruce Willis stars in The Whole Nine Yards, from 2000, as a hit man who moves next door to a law-abiding dentist (Matthew Perry) with marriage and money troubles. The dentist’s contemptuous wife (Rosanna Arquette) urges him to rat out the hit man, for a price, to an enemy gangster, but the dentist intends no harm. And Arquette secretly wants him to die. Boy, does the threat of violence pervade.

Director Jonathan Lynn‘s and scriptwriter Mitchell Kapner‘s film is an effective comedy of killing and treachery, and it beats the blazes out of woke comedies. It has nothing to say but is not a thumbsucker. The plot Kapner offers is flawed but engaging. The flick is all commercial rawness. Perry is fun and supple; Arquette is raffishly dandy. Amanda Peet is committed and sapid and pretty nude. Wait, I mean she is a pretty nude.