In the 2025 After the Hunt, a black college student from a rich family (Ayo Edebiri) informs a female professor (Julia Roberts) that she was sexually assaulted by a male friend and colleague of the professor (Andrew Garfield). The directing—by Luca Guadagnino—and the acting succeed, but the film is not only sober but sodden, with a less than sensible screenplay.

Not that it’s uninteresting, though. The film asks what is and what isn’t reality in a society with ignorant “radicalism,” naughty intellectuals, identity politics, and malcontent. It seems appropriate for there to be the artifice of someone yelling “Cut” at the end of ATH‘s last mise en scene. But, for sure, this isn’t a movie about moviemaking.

I never saw the first-part Mission Impossible: Dead Reckoning (2023), but only the second-part Mission Impossible: The Final Reckoning (2025), so I’m at a disadvantage. Doesn’t matter. I was aware of the film’s very, very high stakes and enjoyed Ethan Hunt’s nerve-racking efforts—fleshed out by age-defying Tom Cruise—to defeat the “anti-God” A.I. . . As usual, the movie is enthralling-looking. It has little humor and nothing cheesy, and would have been rated G in the Seventies. The cast is agreeable, and I think Hunt and Hayley Atwell‘s Grace love each other. Neither is terribly glamorous here. Doesn’t matter. (Cruise is 62. This is, incidentally, the last MI film.)

Starring Charles Laughton, 1938’s The Beachcomber is not as smoothly directed and edited as Laughton’s Mutiny on the Bounty, but it’s an engaging effort all the same, based on a Somerset Maugham story. Laughton’s role is that of a ne’er-do-well island dweller whom a schoolteaching missionary wants to reform. He seems unreformable, though; is he? There are curiosities and contingencies. For her part, the schoolteacher, Martha, is a stern Christian who is herself converting to a degree she would not have expected. The film ends the way it does because it is a comedy—serious but exaggerated.

At first I thought Laughton’s acting was rather mannered, but soon found it subtle and droll; persuasive. Elsa Lanchester is wonderfully true as Martha. The film is the sole directorial work of producer Erich Pommer. Recommendable.

To me, musical though it is, God Help the Girl (2014) features too many songs, most of which I didn’t care for. This was often because of the hazy lyrics. The lovely “Come Monday Night” is an exception. All the songs were written by Stuart Murdoch, who also scripted and directed the film. The story is slight but not uninteresting, certainly containing a spiritual dimension. (Why is GHTG so unprofound, though?)

The cast is good. I can’t really judge Emily Browning‘s singing, but her acting is palatable. So is that of Olly Alexander, but Hannah Murray needs to make a bigger splash. So: there are reasons to see Murdoch’s film.

With the Great Depression persisting, it was hard to find a job in 1939, especially for a bachelorette. Polly Parrish (Ginger Rogers) is working only a seasonal job in the ’39 Bachelor Mother but, ah, it benefits her when the lass turns into a . . . Bachelor Mother, perforce taking care of an abandoned baby. Out of pity, the company boss (David Niven) hires her for permanent work. Everybody mistakes Polly for the baby’s mother—and then there is regrettable ignorance about the identity of the father.

There is not much to say about this flick (directed by Garson Kanin). It’s a romantic comedy which isn’t very funny, but at least has an original screenplay by Norman Krasna and Felix Jackson. It’s a family film that will appeal especially to women and non-fastidious children. David Niven—who was an “approachable” and dapper but masculine actor—is winning. So is the understated Rogers. The whole crew keeps Bachelor Mother humming along, pleasantly.