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Bette Davis famously owned a pillow with the adage “old age ain’t no place for sissies” stitched across it. This truism is at the heart of writer/director Paul Weitz ’s “Moving On,” which stars Jane Fonda and Lily Tomlin as Claire and Evelyn, two aging, estranged friends thrown together again after decades at the funeral of their mutual friend Joyce.

A melodrama with comedic elements, plot-wise the film is about Claire’s desire to get vengeance for a sexual assault perpetrated by Joyce’s husband Howard ( Malcolm McDowell ) nearly 50 years earlier that completely derailed her life. In the wake of the event, she pulled away from Joyce and Evelyn, left her loving husband Ralph ( Richard Roundtree , as charming and suave as ever), and has spent most of her life petrified by the trauma. 

Yet, this is not a film that exists solely for its plot mechanics. It’s a clear-eyed examination of the compounding weight of growing older, of carrying your life and your hopes and your memories and your regrets with you everywhere you go. The title, “Moving On,” does not just mean to move beyond your past but also to keep moving forward in life, even if your past stays with you. 

Like the characters they play, Fonda and Tomlin have spent decades building a deep friendship while appearing together in projects like “9 to 5” and “Grace and Frankie,” and their chemistry shines as bright as ever. They are not, however, just playing versions of their own personas. 

Claire is a woman who never found her own power, always living for others after the assault left her “mute.” Fonda plays her with a somber rigidity, holding her body tight as if thousands of emotions are one moment away from escaping the cage she’s built around them. As she reconnects with Evelyn, Ralph, and even Howard, Claire’s long-repressed sense of humor, sensuality, and seething anger she kept hidden for so long find their way to the surface. 

Tomlin plays retired musician Evelyn with her trademark deadpan sensibility, always seeming to say what she means and what feels at any given moment, unafraid to be unabashedly herself. Yet, Evelyn is a woman with secrets, wounded pride, and a passion for music – and for women – that hasn’t had an outlet in far too long. She secretly ekes out as free an existence as she can in the independent section of an assisted living facility. Joyce’s death, and Claire’s return to her life, bring out in Evelyn a bevy of complex emotions, this shift played with subtle precision by Tomlin, whose eyes belie her stoic face and monotonous voice. 

While Evelyn helps Claire plot out how to get her revenge, the two discuss the immediate aftermath of the incident. Claire didn’t report it to the police because “They wouldn’t have believed me.” On one hand, the dialogue here is on the nose, yet when looking back 50 years and then forward again, and seeing that not much has changed for women in this country in terms of their bodily autonomy and the prosecution of rapists, perhaps on the nose becomes just the truth. 

When Claire does finally get to say her peace to Howard, she graphically describes the assault, recalling every horrid detail as if it happened yesterday and not nearly 50 years ago because, for her, time stopped on that day. Fonda delivers this monologue with as much power and conviction as any in her career, tapping into the weight not just of Claire’s trauma but all the compound traumas that the actress has witnessed as a woman in this country for the last half-century. 

For his part, McDowell plays Howard as the kind of privileged man who has done just enough work on himself to consider himself a “changed man” yet has only really achieved healing for himself and for his own sake, not for those he’s harmed. Howard is less a character than an emblem of all the powerful men who get away with it over and over and over again. This could be seen as a failure at the script level, but it also allows Howard to get his just desserts at the end without the audience feeling too bad for the family he leaves behind. 

While the tonal shifts from melodrama to mordant comedy don’t always work, Fonda and Tomlin are as good as they have ever been and “Moving On” proves itself a powerful rumination on the strength it takes to age—mentally, physically, and economically. It takes strength to live with yourself and your traumas, to embrace your pleasures, and to be there for those you care about despite it all. 

Now playing in theaters. 

Marya E. Gates

Marya E. Gates is a freelance film and culture writer based in Los Angeles and Chicago. She studied Comparative Literature at U.C. Berkeley, and also has an overpriced and underused MFA in Film Production. Other bylines include Moviefone, The Playlist, Crooked Marquee, Nerdist, and Vulture. 

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Film credits.

Moving On (2023)

Rated R for language.

Jane Fonda as Claire

Lily Tomlin as Evvie

Richard Roundtree

Malcolm McDowell as Howard

Catherine Dent as Molly

Cinematographer

• Tobias Datum
• Hilda Rasula
• Paul Croteau
• Amanda Delores Patricia Jones

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‘Moving On’ Review: Cracking Jokes and Settling Scores

Lily Tomlin and Jane Fonda team up in an awkward comedy about two women contemplating the murder of a predatory man.

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Let me say right up front that I would happily watch Lily Tomlin and Jane Fonda in anything — except for maybe that one about the football player . Their comic partnership, inaugurated back in 1980 with “ Nine To Five ” and honed during the seasons of “ Grace and Frankie ,” is one of the blessings of modern pop culture. It is certainly the main pleasure of “Moving On,” an otherwise thin and muddled new film directed by Paul Weitz.

Weitz, who directed Tomlin in the sublime “ Grandma ” and the misguided “ Admission ” — the high points of his up-and-down filmography are still “ About a Boy ” and “ In Good Company ” — has a style that’s by turns genial and prickly. He embeds laughter in the possibility and sometimes the fact of real pain, and extends even his most wayward characters the benefit of the doubt.

Tomlin and Fonda hardly need that. They play Evelyn and Claire, two college pals whose paths cross at the funeral of another old friend. Claire (Fonda), devoted to her pet corgi and a bit chillier with her daughter and grandson, travels from Ohio to Southern California with a sinister plan. She is going to murder the bereaved husband, Howard (Malcolm McDowell). Claire announces this to anyone who will listen, including Howard himself and Evelyn (Tomlin), who signs up as an accomplice.

Howard seems like a generally unpleasant guy, but the reason for Claire’s grudge is grimly specific. It becomes clear fairly early on that “Moving On” is operating in strange and risky genre territory. If the phrase “rape-revenge comedy” sounds like an oxymoron, this movie won’t convince you otherwise. And even though you can’t help but root for the would-be killers to deliver a much-deserved comeuppance, this vengeance is oversweetened and served lukewarm.

Fonda’s wary melancholy effectively communicates the persistence of trauma and Claire’s long-suppressed rage at the man who inflicted it. Tomlin, in the familiar role of bohemian sidekick — Evelyn is a retired cellist — is less flaky than Frankie, and not quite as steely as Elle in “Grandma.” “People think I’m being funny when I’m just talking,” Evelyn observes, which is a pretty good summary of Tomlin’s own comic genius.

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‘Moving On’ Review: Lily Tomlin and Jane Fonda Stick It to the Man in Irreverent Reunion

'Grandma' director Paul Weitz tries to get in on some of that 'Grace and Frankie' chemistry in a fairly benign comedy with a #MeToo twist.

By Peter Debruge

Peter Debruge

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Can you imagine anything more delightful than Jane Fonda and Lily Tomlin co-starring in a movie with Richard Roundtree and Malcolm McDowell … in 1972? That was the year Fonda won an Oscar for “Klute” and daffy “Laugh-In” star Tomlin released her first comedy album. The two men were riding high with “Shaft” and “A Clockwork Orange,” respectively. Just think what an ensemble film that played to each of their strengths might have yielded 50 years ago.

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These days, it’s not such a surprise to see the two female actors together. Fonda and Tomlin and seven seasons into “Grace and Frankie,” and they have such good comedic chemistry that their first feature collaboration comes as more of a comfort than a surprise: a “grumpy old broads” comedy, in the tradition of Matthau and Lemmon, where they play Claire (Fonda) and Evelyn (Tomlin), two college roommates reunited for the funeral of a friend. We expect them to act out, and they don’t waste much time doing so.

Claire really does intend to kill Howard — for reasons far tougher than a Paul Weitz movie might suggest — and the next 70-odd minutes are spent alternating between that plan (it’s harder than Second Amendment advocates might like to buy a murder weapon in the state of California) and dealing with unfinished business, like patching things up with ex-husband Ralph (Roundtree), whom she divorced without explanation all those years ago.

Tomlin is here mostly as emotional support and comedic relief: to ask the main character whether she really wants to murder someone and to support her decision, whatever that might be. That was essentially Tomlin’s role in “Grandma” as well, without making any moral equivalencies between abortion and manslaughter. She’s a modern-minded lesbian who does what she wants and supports others’ right to do the same — a mentality that extends to the visiting boy she meets in the halls of her retirement home, encouraging this effeminate kid’s desire to play dress-up and telling him how beautiful he is.

Tomlin’s terrific in this mode. The script is as bland as the “cardboard” they serve in her rest-home cafeteria, but she manages to inject it with vinegar and attitude, while embracing the realities of aging. Getting older doesn’t mean giving up, Evelyn reminds; it means finding a fresh way to laugh off life’s litany of disappointments. Evelyn may roll her eyes and call Claire names — like “cuckoo” and “crazy” — but she was the only person Claire told about what happened with Howard.

The assault destabilized Claire’s life, destroyed her marriage, and went unreported all these years. That’s a hell of a thing to play — not the borderline-slapstick business of buying a gun and aiming it at a man who’s been living with a different memory of the same incident for decades, but the trauma shared by so many women who’ve had to “move on” without justice. Here, it’s Claire’s word against Howard’s, though no one in the audience will have trouble distinguishing the truth.

Fonda doesn’t overplay it. This is not an Oscar movie, and she has no interest in trying to outdo Jodie Foster’s big Charles Bronson turn in “The Brave One.” It’s just a question of what she chooses to do about it. Laughter can be just as cathartic as violence. You’ll never believe the weapon Claire winds up with. When that fails, she’s willing to resort to smothering him with a pillow or running him over with a car. Her desperation starts to look pathetic, which is kind of the point: It’s not about getting even so much as recognizing the deep, lasting damage Howard did to her life.

Reviewed at Toronto Film Festival (Gala Presentations), Sept. 9, 2022. Running time: 85 MIN.

• Production: Producers: Andrew Miano, Stephanie Meurer, Paul Weitz, Chris Parker, Dylan Sellers. Executive producers: Zach Schiller, David Boies, Tyler Zacharia, Dan Balgoyen, Britta Rowings.
• Crew: Director, writer: Paul Weitz. Camera: Tobias Datum. Editor: Hilda Rasula. Music: Amanda Jones.
• With: Jane Fonda, Lily Tomlin, Malcolm McDowell, Richard Roundtree, Sarah Burns.

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‘Moving On’ Review: Jane Fonda And Lily Tomlin Out For The Kill In Paul Weitz’s Rich Dark Comedy

By Pete Hammond

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Writer-irector Paul Weitz wrote the sublime road comedy Grandma for Lily Tomlin , and now at the suggestion of Tomlin, he wrote a new film for both Lily and Jane Fonda , one with characters unrecognizable from the pair they played for seven years on the Netflix sitcom, Grace And Frankie,  in a story tinged with a dark side, as well as some pungent commentary on the effect of sexual trauma, even nearly a half-century later. This is the kind of movie I love, independently made, using great actors in unexpected kinds of roles, running a tight no-fat 85 minutes, and being thoroughly entertaining with something to say as well.

Fonda plays Claire who is attending the funeral of her old college roommate, Joyce. She meets again with another college friend Evie (Tomlin) and confesses her plans don’t include just attending a funeral to pay respects, but also to kill Joyce’s husband Howard (a creepy Malcolm McDowell ) who on a drunken night decades ago, and unbeknownst to his wife, inflicted sexual trauma on Claire, a horrendous experience she never told Joyce about, but like so many victims of sexual abuse has kept it pent up, in her case for 46 years. She has her mind set to carry out her murder plans, and the film actually gets quite a few nervous laughs out of her raw and decided determination. Fonda plays her alternately fragile and confident in her mission, someone confronting finally a past she had hidden away but not afraid to act on it in graphically violent terms. A kitchen knife at the reception will do, or a trip to a gun shop to buy a gun to shoot Howard or a deal made with a friend who might have another kind of gun that will do the trick, or how about just smothering him with a pillow?

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Tomlin’s caustic Evie has her own showcase moments at the funeral and then a reception with revelations of her own that are guaranteed to shock the gathered mourners. Together she and Claire team up to wreak revenge, but this is not broadly played like say the first film in which they co-starred, 1980’s 9 To 5  in which they also teamed to take out revenge on their horrible boss, but here in more deliberate, even quiet ways where you thoroughly believe the damage that has been caused on one night decades ago that was quickly forgotten by the man, but a source of forever pain for the woman.

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In a subplot, Fonda is reunited as well with an old boyfriend (Richard Roundtree) with whom she abruptly broke things off, without explanation. They pick up, now years wiser, where they left off with poignant results.

The title says it all, these are all characters who are “moving on”, but have to erase the wounds of the past before they can do that. Weitz ( About A Boy, Admission, In Good Company, American Pie)  is a writer who can take an outrageous idea and somehow make it plausible which is exactly what he does here. Who hasn’t wanted to kill someone at one point in our lives, but of course would never act on it? Claire convinces you she means business, but this is no over-the-top movie character but a believable older woman out to right a wrong. Fonda goes deep on this one.

No one can deliver a zinger like Tomlin and Weitz has given her some choice material. By the way, their 2014 movie Grandma  which details Tomlin driving her granddaughter played by Julia Garner in order to get an abortion would be ripe for re-release in the wake of the Supreme Court overturning Roe v Wade. McDowell, with long ago memories of If…. and  A Clockwork Orange  can play a creep with the best of them and socks this insufferable guy home. Roundtree looks great and has some warm and touching scenes opposite Fonda in a bittersweet reunion between their characters.

Producers are Stephanie Meurer, Andrew Miano, Chris Parker, Dylan Sellers, and Weitz.  Moving On  had its World Premiere tonight at the Toronto International Film Festival and is looking for distribution. UTA is handling sales.

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Two old friends reconnect at a funeral and decide to get revenge on the widower who messed with them decades before. Two old friends reconnect at a funeral and decide to get revenge on the widower who messed with them decades before. Two old friends reconnect at a funeral and decide to get revenge on the widower who messed with them decades before.

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• Trivia Evelyn paraphrases a line from William Shakespeare 's Richard III. It is from his opening soliloquy, which begins "Now is the winter of our discontent," and continues to "And therefore, since I cannot prove a lover; To entertain these fair well-spoken days, I am determined to prove a villain; And hate the idle pleasures of these days."

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‘Moving On’ Review: Revenge Is a Dish Best Served With Jane Fonda & Lily Tomlin

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As far as we know, Grace and Frankie never planned to kill any boarish, horrid men in Grace and Frankie , but if four decades ago you found that 9 to 5 whet your appetite to witness Jane Fonda and Lily Tomlin live out that particular fantasy— Moving On delivers.

While Claire (Fonda) and Evelyn (Tomlin) may start out the film as estranged former friends, it’s hard to ignore what a dynamic duo Fonda and Tomlin are, even when they’re at odds with each other. They gravitate towards each other naturally and, no matter who else they have to play off of, their best work exists when they’re together. To a certain extent, Moving On allows Fonda to play against type-casting: she’s still straight-laced and put-together, but she’s also coming unglued and taking high-stakes risks in the name of well-earned revenge.

If Death at a Funeral taught me anything, it’s that funerals make the perfect backdrop for threats of murder and romantic revelations. Moving On may not be a comedy of errors , in the same way as either Death at a Funeral , but it does share similar tonal qualities with the dry, black humor, familial drama, and heightened emotions. All of which are elevated by the wry, irreverent catharsis built into the script and delivered so eloquently by Fonda and Tomlin.

RELATED: 'Moving On': Release Date, Cast, Filming Details, and Everything You Need to Know About Jane Fonda and Lily Tomlin's Next Comedy

Decades ago, Claire was assaulted by her college roommate Joyce’s husband, Howard ( Malcolm McDowell ), which was a secret that she was prepared to take to her grave, despite it permanently traumatizing her and wrecking her relationship with Ralph ( Richard Roundtree ), but when Joyce dies, she realizes it’s time to move on by killing him. Naturally, Evelyn has her own motivations to rid the world of Howard, which threaten to paint Joyce in a brand-new light in her family’s eyes, much to his chagrin.

Moving On ’s director-screenwriter Paul Weitz crafts a very straightforward plot, which allows the weight and gravity of the story to settle squarely on the shoulders of viewers. Some critics and audiences may be quick to brand Moving On as a byproduct of a post-#MeToo world , but the motivations built into the script are a tale as old as time. Look at 9 to 5 —women seeking revenge on scumbag men is the kind of power fantasy that puts butts in movie seats.

In the midst of the chaos to rid the world of another creepy man, Claire doesn’t lose sight of the fact that there are still good ones out there, like Ralph, and that sometimes letting go and moving on helps put things in perspective. The film gives equal weight to the idea of rekindling old love as it does the notion of rekindling an old friendship. Both are vital in the pursuit of moving on, and it helps to anchor the dark tint of the emotional baggage Claire has been saddled with.

With its title, Moving On telegraphs what its central theme is: the act of moving on. While Claire’s plot is fairly straightforward, in that she’s trying to move past this horrific trauma she endured, each of the film’s characters is “moving on” in some way, whether it’s moving beyond old fields, moving on to the next stage in life, or moving on to greener pastures. It’s the sort of timeless plot that can be found in any film, but it is made even more poignant when you have a cast comprised of more mature actors. The tragedy isn’t just that Claire endured this horrific assault, but that it has left a mark on her life up into her 80s. She can’t just move on without getting closure.

Moving On is yet another tour de force for Jane Fonda and Lily Tomlin, who once again prove that they are a force to be reckoned with. To their credit, Fonda and Tomlin continue to be trailblazers for women (of all ages) as they surround themselves with projects that remind the world that women in their 80s are still funny, determined, sexy, and powerful—and it’s thrilling to see them reclaim these tropes that are often ascribed to much younger actresses. While the storyline doesn’t deliver anything new or revolutionary, it stands as a testament that this specific brand of revenge fantasy appeals at any stage of life.

Moving On is in theaters on March 17, 2023. Check out our interview with some of the cast back at TIFF last year down below:

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Review: Jane Fonda and Lily Tomlin are once again perfectly matched in ‘Moving On’

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If “lovely” is not the first word you’d think would be used to describe a movie about attempted murder, then you haven’t seen “Moving On,” an amusing and bittersweet little tale of love, friendship and, yes, retribution.

Jane Fonda , in one of her best, most resonant film performances since she returned to the screen in 2005, stars as Claire, a twice-divorced grandmother and dog lover who travels from Ohio to L.A. for the funeral of her old college roommate, Joyce. (The film was shot largely in Pasadena, Altadena and Burbank.) But Claire has an agenda beyond just honoring the memory of her departed pal: Now that Joyce is gone, Claire wants to kill Joyce’s husband, Howard (Malcolm McDowell), for vengeful reasons that will unfold as we go.

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But her mission is, admittedly, rather harebrained — in contrast to the seemingly circumspect Claire’s general demeanor. All she knows is that she wants to bump off the hostile, remorse-free Howard. How and when she’ll accomplish that will, she hopes, present itself.

To that end, Claire enlists another college friend, Evelyn (Fonda’s “Grace and Frankie,” “80 for Brady” and “9 to 5” co-star, Lily Tomlin ), who makes a brash entrance at Joyce’s funeral — and is even more unfiltered at her memorial gathering. Though Evelyn, a former orchestra cellist and Joyce’s college-era lover, hasn’t seen Claire in forever, she’s resourceful, crafty and maybe just bored enough with her current life to jump into Claire’s scheme. And the misadventures follow.

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At times, the more audacious Evelyn proves an unexpected voice of reason. But that doesn’t stop her from accompanying Claire to check out a friendly gun shop or bartering with a fellow resident in her senior-living facility for the pistol he supposedly has stashed away (a transaction that offers a nice, twisty payoff).

Howard’s potential killing may be the springboard here, but this compact tale is about so much more than that. Writer-director Paul Weitz, a force behind such other fine character dramedies as “About a Boy,” “In Good Company,” “Admission” and the 2015 Tomlin-starrer, “Grandma,” fleshes out his well-observed script with a wistful array of grace notes for both Claire and Evelyn that play out in unfussy and heartfelt ways.

Whether it’s Claire’s tender reunion with her gentle and equitable ex-husband, Ralph (a wonderful Richard Roundtree), Evelyn’s protective kindness for a tween boy (Marcel Nahapetian) exploring gender expression or Evelyn’s wonder at learning from Joyce and Howard’s devoted daughter (Sarah Burns) that Joyce had kept Evelyn’s age-old love letters, the film beautifully touches on aging, individuality, regret and the bracing freedom of no longer giving a fig.

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May 24, 2022

Fonda and Tomlin, who’ve become a kind of latter-day female version of Matthau and Lemmon, not only enjoyably display their lived-in chemistry but bring expert nuance and pathos to their characters’ many emotional turns — big and small. If that’s no great shock, given the length, breadth and caliber of their careers, it’s still stirring and impressive to behold.

The murder thread picks up again in earnest in the film’s third act and manages to resolve itself in a series of surprising and satisfying if perhaps slightly convenient moves. But by then we’re so invested in Claire and her deep-rooted cause that, whatever happens, we just want to see her happy. Evelyn too.

In the end, “Moving On” emerges as a feel-good movie by way of some feel-bad events, mainly that heinous slice of history between Claire and Howard. It’s a bit of a tightrope act for sure, but the film engagingly shows that, whatever one’s age, if you can find a way to reconcile the past, the future may prove brighter than you ever imagined.

'Moving On'

Rating: R, for language Running time: 1 hour, 25 minutes Playing: Starts March 17 in general release

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Review: Tomlin, Fonda anchor darkly comedic ‘Moving On’

This image released by Roadside Attractions shows Lily Tomlin, left, and Jane Fonda in a scene from “Moving On.” (Glen Wilson/Roadside Attractions via AP)

This image released by Roadside Attractions shows Richard Roundtree, left, and Jane Fonda in a scene from “Moving On.” (Glen Wilson/Roadside Attractions via AP)

This image released by Roadside Attractions shows Jane Fonda in a scene from “Moving On.” (Glen Wilson/Roadside Attractions via AP)

This image released by Roadside Attractions shows Lily Tomlin in a scene from “Moving On.” (Glen Wilson/Roadside Attractions via AP)

This image released by Roadside Attractions shows Malcolm McDowell in a scene from “Moving On.” (Glen Wilson/Roadside Attractions via AP)

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The on-screen pairing of Jane Fonda and Lily Tomlin is not exactly a novelty at the moment. Seven seasons of “Grace and Frankie” and the movie “80 for Brady” has, perhaps, spoiled us a little lately. And, unfortunately, second-act movies with Hollywood legends have a very hit or miss track record (sorry “Queen Bees” and “Poms”).

But don’t let either of those facts dissuade you from trying out “ Moving On ,” which was written and directed by Paul Weitz (“Grandma,” “About a Boy”) and opens in theaters this weekend. This is one of those rare films that balances a darkly comedic conceit with authentic, emotional resonance, allowing Fonda, Tomlin and co-stars Malcolm McDowell and Richard Roundtree to actually act rather than be demeaned by cheap caricatures of senior citizens.

It begins with a funeral. We never meet the deceased, but it brings the main characters back together again for the first time in a long time. Fonda is Claire, a devoted dog mom and grandmother to uninterested teens, who travels from Ohio to California to purportedly say goodbye to her college friend. But she has something else cooking. When she arrives and greets the new widower (McDowell), she doesn’t offer sympathies, but instead says, “Howard, I’m going to kill you. I’m going to do it this weekend.”

Something happened many years ago with Howard and Claire, while his wife was out of town. It’s not explicitly spelled out until an emotional scene near the end, but you know what it is long before then. She only ever told Evvie (Tomlin). The police, she knew, would have just wondered why she was alone with her best friend’s husband in his house. And she knew that telling her friend would have ruined her marriage and possibly her life. So, she did nothing.

Tomlin, as ever, spins gold out of every line — whether it’s cheesy, throwaway or well-written (and this pic has them all). Her entrance, more memorable, involves stumbling into the chapel, directly onto the stage where Howard is delivering a eulogy for his wife of 51 years.

“Everyone, this is Evelyn. Evelyn was Joyce’s college roommate, believe it or not,” he says.

“Why wouldn’t they believe it,” Tomlin deadpans.

Everyone is lying to themselves and each other a little bit and the death of someone they were close to has given way to ancient secrets and truths bubbling up to the surface. Evvie has her own confession to make, but maybe one that’s better saved for her to reveal. Regardless of what it is, everyone’s suppressed and repressed trauma is coming back with a vengeance.

There is a natural queasiness to any film that tries to mine laughs out of revenge murders but “Moving On” handles this better than many. It’s never too arch or silly and it is, ultimately, about an event that effectively ruined Claire’s life. Roundtree (a lovely presence) plays her ex-husband Ralph – the incident brought down their marriage, too.

Also, and perhaps this is a flaw, but you never really believe that Claire is going to do it even when she’s kind of doing it (there are several attempts). McDowell is great as this grouchy, unrepentant jerk who has deluded himself into thinking that none of these things that either Evelyn or Claire is telling him could possibly have any truth to them. It would be easy to play Howard as simply evil, but McDowell keeps his feet on the ground and allows for some humanity, in spite of everything.

“Moving On” is certainly not perfect, but it’s sincerely trying to be something more than your standard octogenarian farce. You might even be surprised by your own emotional investment in this rather trim film.

Hopefully performances like these will remind screenwriters, directors and those who make the decision about what gets made to give our living legends good roles while we still have them. The actors are still game, and hopefully audiences are too.

“Moving On,” a Roadside Attractions release, is rated R by the Motion Picture Association for “language.” Running time: 85 minutes. Two and a half stars out of four.

MPA Definition of R: Restricted. Under 17 requires accompanying parent or adult guardian.

Follow AP Film Writer Lindsey Bahr on Twitter: www.twitter.com/ldbahr .

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Common Sense Media Review

Mature murder tale is more dark than comic; language.

Parents Need to Know

Parents need to know that Jane Fonda and Lily Tomlin star in Moving On, a dark, female-centered dramedy about two women who set out to murder their late friend's violent husband, Howard (Malcolm McDowell). Written and directed by Paul Weitz, the story dives into mature subject matter (spoiler alert): The…

Why Age 15+?

Story centers on a plot to assassinate someone. Detailed description of a rape.

Strong language includes "ass," "goddammit," "pain in the butt," "s--t," and sev

Joking offer of an assortment of drugs. Character drinks from a flask and later

Sex between former spouses (not shown). Kiss. References to romance.

Any Positive Content?

Female-centered plot focusing on two White women in their 80s, one of whom is a

We don't need to take the law into our own hands, because karma has its own laws

Claire and Evelyn were good friends to their late friend, Joyce, keeping informa

Violence & Scariness

Story centers on a plot to assassinate someone. Detailed description of a rape. Scene at gun store includes a long conversation about the pros and cons of certain guns and bullets. Attempted murder. Car strikes a person.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Strong language includes "ass," "goddammit," "pain in the butt," "s--t," and several uses of "f--k." Insults include "d-ke" and "whores."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Joking offer of an assortment of drugs. Character drinks from a flask and later pours a couple of vodka shots in hopes of creating camaraderie. Descriptions of an alcoholic's behavior. Wine at an event.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Sex, Romance & Nudity

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Diverse Representations

Female-centered plot focusing on two White women in their 80s, one of whom is a lesbian; the story includes the struggles associated with their gender and sexuality. Characters of color are positively depicted in supporting roles. Romance between a White woman and a Black man. A boy who enjoys wearing women's clothing is encouraged to be himself. The actors playing his parents are Latino and one, disabled actress Santina Muha, is in a wheelchair.

Did we miss something on diversity? Suggest an update.

Positive Messages

We don't need to take the law into our own hands, because karma has its own laws. Deals with issues of identity, friendship, and accountability -- as well as a strong theme of revenge.

Positive Role Models

Claire and Evelyn were good friends to their late friend, Joyce, keeping information to themselves to protect her. But they're also on a mission of violence.

Parents need to know that Jane Fonda and Lily Tomlin star in Moving On, a dark, female-centered dramedy about two women who set out to murder their late friend's violent husband, Howard ( Malcolm McDowell ). Written and directed by Paul Weitz , the story dives into mature subject matter ( spoiler alert ): The women, now in their 80s, are seeking justice for a rape that occurred decades earlier. The assault is described in detail, and -- perhaps even more upsettingly, especially for victims of sexual trauma -- Howard insists that it was consensual, spouting words and phrases like "delusional," "wanted it," and "one of those women who are never satisfied." Identity is one of the film's themes, and a lesbian expresses the challenges that existed for her in the decades before her sexuality was more accepted. She tries to be a supportive friend for a 10-year-old boy who likes to dress in women's attire. Other diverse representations include the boy's mother, a Latina woman in a wheelchair (disabled actress Santina Muha) and an interracial relationship. Adult characters drink out of a flask and make a joke about drugs. Insults/swear words include "whores," "d-ke," "f--k," and more. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

Parent and Kid Reviews

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What's the Story?

In MOVING ON, old college buddies Claire ( Jane Fonda ) and Evelyn ( Lily Tomlin ) reunite at the funeral of their mutual friend Joyce. With Joyce no longer in danger of being hurt, the friends set out to settle the score with her widower, Howard ( Malcolm McDowell ), whose cruelty set their friendship adrift decades earlier.

Is It Any Good?

While this dark comedy may not excel at comedic entertainment, it effectively sears the impact of sexual violence into viewers' minds. Let's just say that Fonda and Tomlin have never been afraid to take risks to make a statement through their craft. Comedies in which characters plot to kill a bad person aren't new, and maybe the fact that we can laugh at this idea says something about society/humanity. What's tonally challenging for a comedy is the realism of why these women want to kill their friend's husband: violent sexual assault. But that discomfort is what makes the scene in which the victim confronts her attacker 45 years later all the more memorable, not only because of her approach to recounting the incident, but also due to his self-protecting denial. Weitz takes a light approach in shining his spotlight on something so harsh, and perhaps that will help the dynamic of believability among victims and attackers continue to change.

Talk to Your Kids About ...

Families can talk about how comedy can be a way to shed light on difficult topics or subject matter. Does Moving On accomplish that successfully?

How do we see that the secrets Claire and Evelyn were holding to protect Joyce were actually damaging to them? Might there have been a better way for them to manage the information they were holding?

Weitz says he wrote Moving On as a kind of Western, "with a gunslinger coming to town to get revenge on a man who wronged her, and saddling up with an old friend to help her." What similarities do you see? Take a movie you like and envision it in a different genre: What would it look like?

Talk about Evelyn's drinking: Why do we see her drink from a flask and pour straight vodka as a way to socialize? What's the message of this behavior?

Movie Details

• In theaters : March 17, 2023
• On DVD or streaming : May 16, 2023
• Cast : Jane Fonda , Lily Tomlin , Malcolm McDowell
• Director : Paul Weitz
• Inclusion Information : Female actors, Gay actors
• Studio : Roadside Attractions
• Genre : Comedy
• Topics : Friendship
• Run time : 85 minutes
• MPAA rating : R
• MPAA explanation : language
• Last updated : September 17, 2023

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

Suggest an Update

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‘Moving On’ Review: Jane Fonda and Lily Tomlin Reunite for a Surprise-Filled Mystery

TIFF 2022: In an era of all-star slogs, this tale from “Grandma” director Paul Weitz offers unexpected shocks around every corner

Paul Weitz’s “Moving On” boasts a legendary ensemble that includes Jane Fonda, Lily Tomlin, Malcolm McDowell and Richard Roundtree. It’s always possible for such an illustrious cast to simultaneously elicit excitement and dread, though. Just ask anyone who has endured “Queen Bees,” “Poms,” “Book Club,” “Last Vegas” or “Space Cowboys.”  

Good news: “Moving On” doesn’t just aim for warm and pleasant. The film is wickedly droll and shockingly riveting – the operative word being “shockingly.” The element of surprise abounds and is more integral to the plot here than in, say, “Glass Onion: A Knives Out Mystery.” The less you know, the better because the film defies expectations in the best way possible. With that said, and somewhat heedless of our own advice, this review regrettably must proceed to tell you more. But we won’t spoil anything beyond what’s in the programming notes of the Toronto International Film Festival, where the film received its world premiere. 

Claire (Fonda) and Evvie (Tomlin) reconnect at the funeral of Joyce, their college roommate and bestie some 60 years past. Claire has an ulterior motive for attending; she has a score to settle with Howard (McDowell), Joyce’s widower. Mere moments after arriving at the service, she whispers in Howard’s ear that she’s going to kill him. With Claire’s benign veneer, it’s easy to mistake her threat semantically; but she’s apparently deadly serious. When she reveals her plan, Evvie decides to be her accomplice even knowing well Claire’s history of never following through with anything she sets out to do. Needless to say, misadventures ensue for this pair of inept avengers.  

While Claire is obviously the protagonist, Evvie appears the more interesting character. A former orchestra cellist, Evvie for some reason pretends to still be playing in an ensemble. She claims to have kept her cute little house when in reality she resides in senior housing. She befriends James (Marcel Nahapetian), a neighbor’s grandson and encourages him when he exhibits a predilection for women’s jewelry. She takes buses everywhere. Too bad these rich expositions don’t necessarily add up to profound revelations for this character. 

As mentioned, there is a subgenre of films specifically catering to AARP membership and designated for senior home group outings. Most of them are quite patronizing to say the least, setting the bar very low for what passes for entertainment. The majority are about characters doing things out of boredom rather than with purpose. “Moving On” feels different, because it isn’t fixated on rigid ideas of what life must be like for older folk and how they can partake in frivolous high jinks and fulfill themselves within those parameters. Reminiscent of the Oscar-nominated Chilean documentary “The Mole Agent,” “Moving On” is a caper of levity and intrigue, filled with colorful characters who just happen to be long in the tooth. 

Apart from the creative partnership with his brother, Chris, with whom he co-directed “American Pie,” “Down to Earth” and “About a Boy,” Weitz’s work hasn’t been especially impactful. But his writing and direction here do leave a much stronger impression. Black comedy can be tricky tonally; if not absolutely on target, the jokes won’t land. The dynamic between Claire and Howard is comparable to that between Wile E. Coyote and the Road Runner, in the sense that Claire’s many murder plots invariably get foiled. It’s wild that these assassination attempts often elicited riotous laughter from the premiere audience, even if sometimes one might well check oneself for cackling at such macabre stuff.  

The film also involves some difficult conversations that are no laughing matter and which require sensitivity and dexterity. Likewise, these scenes have the potential to turn disastrous if not treated with the appropriate regard and gravity. Weitz handles these pivotal moments deftly, and Fonda and McDowell deliver shattering confrontations. 

The cast is uniformly enchanting. Juicy roles like these probably don’t come along often for these screen legends anymore, and they still disappear into these charming and complex characters so effortlessly.

Radiant as ever, Fonda is probably the last person one would suspect of being a killer.  The success of this pitch-black comedy hinges on her convincingly conveying a quiet anguish and bloodthirst underneath the genteel façade, and she captivates with Claire’s every move, however poorly thought out and haphazardly executed. Tomlin’s signature deadpan delivery never ceases to amuse, and she delivers Weitz’s lines with such authenticity that it’s almost if she had written them herself. Roundtree is magnetic as Claire’s ex-husband Ralph, who tries to rekindle their relationship. McDowell can play a diabolical villain in his sleep, but he conveys a degree of humanity in this monster. 

“Moving On” is a delight that will connect far beyond the target audience of this subgenre. It has set the bar much higher for entertainment made about and for this particular demographic. Weitz reminds us this audience and these veteran actors shouldn’t have to settle.

Flickering Myth

Geek Culture | Movies, TV, Comic Books & Video Games

Movie Review – Moving On (2023)

March 15, 2023 by Robert Kojder

Moving On , 2023.

Written and Directed by Paul Weitz. Starring Jane Fonda, Lily Tomlin, Richard Roundtree, Malcolm McDowell, Catherine Dent, Sarah Burns, and Marcel Nahapetian.

Two old friends reconnect at a funeral and decide to get revenge on the widower who messed with them decades before.

It is baffling that writer-director Paul Weitz ( American Pie ) doesn’t realize that for Moving On to work as a comedy-drama blend, it needs to stick to gallows humor, considering its heavy subject material. Fortunately, his misdirection here is not enough to sink terrific performances from Jane Fonda and Lily Tomlin at the center of a much darker film than usual given to older female leads.

Someone wouldn’t be entirely wrong coming into Moving On expecting the usual quirky lightweight hijinks from veteran performers of this age (especially since Jane Fonda and Lily Tomlin just got done doing that routine in 80 for Brady ), but also pleasantly way off the mark as the story deals with a horrific incident and how it has affected the lives of these characters while reuniting and paying their respects at a friend’s funeral. As soon as Claire (Jane Fonda) reaches Los Angeles and comes into contact with Malcolm McDowell’s shady Howard, the grieving widow of their now-deceased friend, she confronts him directly, mentioning that she remembers something vaguely horrific that he did, that she has nothing left to lose, and that she is going to kill him.

Coming off of a prologue where Claire is somewhat estranged from her daughter and technology-obsessed grandchildren that have no interest in spending time with her, and no one in her life but a canine companion she loves deeply, the threat feels legitimate and promises to send the story in a heavy direction. It also feels intentional that the script leaves the incident somewhat predictable so viewers can slowly prepare themselves for how harsh the story will get. Then there is Claire’s lifelong friend Evelyn (Lily Tomlin), who doesn’t exactly advise against revenge but is more willing to assist once Howard mocks the romantic love she once shared with his dead wife.

Aside from the conflicting and frustrating comedic tone, Paul Weitz is also willing to see these characters as real people fueled by more than getting even, as Claire’s ex-husband Ralph (Richard Roundtree) is also present, causing the two to start catching up. Naturally, Ralph (who also ended up remarrying and starting a family) pries into why Claire left him in the first place, which is also connected to the trauma she either experienced or witnessed in some way regarding Howard. The script could have continued further down a goofy comedy road here, but instead suggests that maybe Claire does have more to live for and is caught up in a misguided revenge scheme. The scenes between Jane Fonda and Richard Roundtree are also touching with effective chemistry.

And while Evelyn gets to deliver the sardonic, no-filter jokes and initially comes across as a vessel for some of the script’s weaker impulses, the film also articulates that she was once a cellist that can no longer play due to failing bones and joints. There’s a sad beauty in how Paul Weitz is comfortable slowing the film down to focus on smaller details about life and aging, making these characters come across as fully-rounded human beings with much to ponder. Elsewhere, a point is made to touch on how enabling and nasty the family and friends of Howard turned out to be (namely, an upsetting moment where a father and mother disapprove of a boy potentially questioning his gender through jewelry).

In between that is a kooky subplot about getting a flare gun for Claire from a friend inside a nursing home, so not every diversion is a winner, but Moving On is still something leaner and rougher truly worthy of Jane Fonda’s and Lily Tomlin’s talents (and Malcolm McDowell is also taking his role seriously reminding viewers he is one of cinema’s greatest slimeballs). Sure, a few bits during the third act feel forced, and there are probably more endings than necessary, but it does finish with a twisted sense of humor. That’s the tone Moving On needed, but what’s here is still solid with enough thoughtful character drama.

Flickering Myth Rating  – Film: ★ ★ ★  / Movie: ★ ★ ★

Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check  here  for new reviews, follow my  Twitter  or  Letterboxd , or email me at [email protected]

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Stream It Or Skip It: ‘Moving On’ on VOD, a Disappointing Lily Tomlin-Jane Fonda Revenge-Comedy Vehicle

Where to stream:.

• Lily Tomlin

‘Outstanding: A Comedy Revolution’ Is the Perfect Pride Movie to Watch on Netflix Today

Stream it or skip it: ‘outstanding: a comedy revolution’ on netflix, a documentary about great strides forward for lgbtq+ comedians, 11 best new movies on netflix: june 2024’s freshest films to watch, r.i.p. dabney coleman: ‘9 to 5’ actor dead at 92.

Moving On ( now streaming on VOD services like Amazon Prime Video ) pairs apparent IRL besties Lily Tomlin and Jane Fonda, again. Their on-and-off-screen duohood began way back in 1980 with 9 to 5 , but hit a new peak in recent years with long-running Netflix series Grace and Frankie , dopey football comedy 80 for Brady and now this, an offbeat revenge dramedy from filmmaker Paul Weitz. The director’s previous film with Tomlin – 2015 gem Grandma , which he wrote specifically for the comedy legend – ended up being creatively bountiful and a career highlight for both, so here’s hoping adding Fonda to the mix resulted in something similarly inspired.   

MOVING ON : STREAM IT OR SKIP IT?

The Gist: Claire (Fonda) talks to her dog like she’s never gonna see him again: curious. She flies back to California for the funeral of an old friend with a grim sense of purpose. She approaches the widower (Malcolm McDowell) and tells him in a steely tone, “Howard, I’m going to kill you.” OK then! It seems outside the boundaries of appropriate funeral decorum, but she must have her reasons. And then Evelyn (Tomlin) wanders in smack In the middle of the memorial, nonchalantly disrupting Howard’s eulogy as his kids and grandkids look on. Claire, Evelyn and their late friend were tight, very tight, back in college. Something happened. Everyone’s a bit estranged these days. And now, Evelyn and Claire seem to be deep into their DGAF days. And this guy Howard? He’s a real shit. And real shits bring people back together as a united front against his shitness.

At first, the two women are prickly with each other. Evelyn’s a touch cynical, a barbed quip for every situation. She doesn’t want much to do with Claire until she blurts out, “I told him I was gonna kill him this weekend. I’m gonna kill the bastard.” Evelyn’s reply? “I could chat.” They go to the gun store together, but Claire can’t buy one with an out-of-state ID. So much for that? Nah. She’ll just have to stab him at the wake tomorrow. Problem solved.

So. WHAT exactly did Howard DO? It must’ve been awful, but we can only wonder for now, because the movie teases us with the reveal as it gives us some background on our two principals. At the funeral, Claire reconnects with her ex-husband Ralph (Richard Roundtree), who, after decades, still doesn’t understand why she left him; they both moved on, and had children and grandchildren and, at least on the surface, led happy lives. Evelyn, a former concert cellist, goes back to her independent-living apartment in a retirement home, arthritis hampering her ability to play music; her wife passed away and she struggles to fit in at this place, but she has a young friend, the grandson of a fellow resident, who’d rather play dress-up with her jewelry than play ball and shoot guns with his grandpa. The next day, Claire and Evelyn show up at the wake. Claire walks into the kitchen and grabs a big butcher knife, and Evelyn starts dropping nuclear truth-bombs. Old stuff is bubbling up, and apparently, this is how they’re dealing with it.

What Movies Will It Remind You Of?: Well, 9 to 5 found our two enduring and endearing leads concocting a revenge scheme against a sexist pig. But otherwise, Moving On is like The Bucket List crossed with, um, Promising Young Woman ? Yeah, sure, Promising Young Woman .

Performance Worth Watching: Tomlin and Fonda, their chemistry as strong as ever, do one thing extraordinarily well here: it’s called “elevating the material,” and it gives you the sense that the movie wouldn’t work in the slightest with lesser talent.

Memorable Dialogue: Nobody can deliver the following line with as much honesty and credibility as Tomlin: “I don’t hate anybody. It’s too exhausting.” 

Sex and Skin: None.

Our Take: Moving On is better than you’d expect, especially if you gutted out the cinematic malfeasance that is 80 for Brady . But it’s still not up to the level of its stars, who Weitz leans on – heavily, very heavily – to smooth out the tonally rocky screenplay. It’s a gambit for the writer/director, who gamely attempts to find the sweet spot between the lighthearted and upbeat comedic goodwill Tomlin and Fonda bring to the table, and some dead-serious subject matter, which addresses indelible psychological trauma. (I won’t reveal what happened among these characters decades ago, but whatever you’re thinking it is, it’s probably in the ballpark.)

That isn’t to say this approach to the material could never work, especially considering the talent on the screen, but in this case, it’s a struggle. The screenplay is begging for another pass or two, to enliven the dialogue and smooth out its many inconsistencies – the subplots orbiting Tomlin’s character seem tossed in to fill time, to say the least, and the ungainly blend of slapstick (dog attacks!) and grueling confessionals (Claire confronting Howard for his past evils), to say the absolute most. It’s up to Fonda and Tomlin to sort through the bric-a-brac and find the truth and substance of their characters, and they do, because after all this time in Hollywood, being great is second nature for them. And just as we’re about to give Moving On a generous pass, it drops an infuriating, plausibility-destroying occurrence upon us, and it’s enough to make one want to kick the deus right in its ex machina . Just when we thought we were in, it pushes us back out.

Our Call: SKIP IT. Even two of the all-time greats can’t overcome Moving On ’s myriad problems.

John Serba is a freelance writer and film critic based in Grand Rapids, Michigan.

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I thought 'Moving On' would be an 'old people do whacky stuff' embarrassment. Why it's not

Opportunities for women who are older than, say, 25, are infamously rare in Hollywood. And what roles that do come along are often demeaning or artistically unsatisfying.

Another way of putting it: Did you see “ 80 for Brady ?” Older women do whacky things. Hilarity ensues. Or not.

Thus, my expectations for “Moving On,” which stars Jane Fonda and Lily Tomlin — who also appeared in “80 for Brady” — were not exactly stratospheric. But low expectations can fool you. So can two experienced stars (the pair also starred in “Grace and Frankie” on Netflix) who have an obvious chemistry together that glosses over many plot weaknesses.

“Moving On,” a dark comedy written and directed by Paul Weitz, isn’t a great movie by any means, but it’s a pretty good one. It’s also a relief to see Fonda and Tomlin play women whose age is not discounted, but is also not disqualifying. They aren’t asked to try to mine comedy from being too old to dance at a wedding or some such drivel.

Instead they play women with a lot on their minds — namely, murder and revenge.

'80 for Brady' review: Guy Fieri is the funniest thing about it

What is 'Moving On' about?

Claire (Fonda) shows up at the funeral of an old friend. So does Evelyn (Tomlin); the three went to college together. When Claire arrives at the service to greet Howard (Malcolm McDowell), the husband of her late friend, she drops a surprising bombshell.

“I’m going to kill you,” she says, matter of factly. And she means it.

Why? An event from Claire’s past destroyed her, ending her first marriage to Ralph (Richard Roundtree) and haunting her ever since. Killing Howard will be a form of justice and catharsis.

Much of the humor derives from Claire trying to find a way to kill Howard, with Evelyn supportive, but also the voice of reason.

Not surprisingly, they’re not particularly good at plotting a murder. Turns out you can’t just waltz in and buy a gun in California, to Claire’s chagrin. A stabbing plan gets waylaid before it can get going. Poison? It’s tougher than you’d think to kill someone.

Meanwhile Claire has dinner with Ralph and his family. Her presence comes as a surprise to his grandchildren, as well it might. But the obvious love between them puts into even sharper context the pain of the past that Claire has carried with her.

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Writer and director Paul Weitz gives Tomlin and Fonda a chance to shine

There is a mini subplot with Evelyn and James (Marcel Nahapetian), a boy who comes to visit his grandfather in the retirement community where she lives who struggles with acceptance. It’s hard to imagine a more accepting person than Evelyn, who is about as live-and-let-live as they come.

Except when it comes to Howard.

What transpired between him and Claire is not exactly a secret, but details are teased out throughout the film.

There are several confrontations between the two, but a climactic one is a showcase for Fonda, the best thing she’s done — or been given to do — in years. She dredges up the anger, the betrayal and the pain of something that happened a long time ago. Her performance is raw and unforgiving.

Fonda hasn’t won a couple of Oscars for nothing, you know. It’s nice to see her with a chance to show that she’s still got her acting chops. It’s also nice for Tomlin, McDowell and Roundtree, for that matter. They slip easily into their roles, decades of experience burnishing their performances.

They get to act like people. Not old people. Just people, period. It’s a welcome change from what we see so often, cloying roles beneath the talents of those involved. There’s no condescension here, just talent, and a lot of it on display. They can all still act! "Moving On" lets them.

'Lucky Hank' is a mess of a man: Bob Odenkirk makes him watchable

Where can I watch 'Moving On?'

In theaters March 17.

'Moving On' 3 stars

Great ★★★★★ Good ★★★★

Fair ★★★ Bad ★★ Bomb ★

Director: Paul Weitz.

Cast: Jane Fonda, Lily Tomlin, Malcolm McDowell.

Rating: R for language.

Reach Goodykoontz at  [email protected] . Facebook:  facebook.com/GoodyOnFilm . Twitter:  @goodyk . Subscribe to  the weekly movies newsletter .

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They Finally Made The Crow for Goth Incompetents

I can’t say for sure that the doomed lovers in the new The Crow were modeled after Machine Gun Kelly and Megan Fox. But once it occurred to me, the comparison became impossible to shake, because the only better way to sum up the film’s sweaty approach to contemporize its story is the fact that its villain is trying to avoid being canceled. Its hero, Eric Draven, as played by Bill Skarsgård, has the silhouette of a Soundcloud scarecrow, crowned with a Bushwick mullet and inked with tattoos — including a cursive “Lullaby” over an eyebrow — that scream “poor decision-making” as much as they do “emotional rebellion.” Meanwhile, Shelly (FKA Twigs) is pitched as a princess with a dark streak, all elf locks, slip dresses, and sheer layers, a girl who was raised in wealth and trained as a pianist but turned to partying thanks to toxic parenting. The Eric of James O’Barr’s 1989 comic was modeled after Iggy Pop and Bauhaus’s Peter Murphy. An emo-rap update feels right for a movie adamantly branded as not a remake or reboot but a reimagining of the original source material.

The Crow isn’t untouchable — it’s spawned way too many sequels, not to mention a short-lived TV show, for that. But O’Barr’s work and Alex Proyas’s 1994 film adaptation were accompanied by real tragedies — the death of O’Barr’s fiancée in an accident involving a drunk driver and the death of star Brandon Lee in an on-set accident — that gave added ballast to their tormented depictions of a grief-stricken man rising from the grave to seek closure in violent retribution. This new Crow , messily directed by Ghost in the Shell ’s Rupert Sanders, with a screenplay by Zach Baylin and William Schneider, feels so lightweight in comparison that it’s almost endearing. Its two beautiful dummies meet in rehab, where they endure the indignity of being made to wear pink sweatsuits and fall in love during group-therapy exercises. Eric imagines Shelly topless in the sketches he pins to his wall, while Shelly is irresistibly drawn to the way Eric sits by himself, declaring him “quite brilliantly broken.” Skarsgård and Twigs have a total absence of chemistry, and while she’s adequate in what’s still basically a dead-wife role, he’s shockingly inert for someone with a career built almost entirely on characters at the intersection of creepy and hottie.

The film may insist that Eric and Shelly’s is a grand romance of soul mates, but what it actually gives us is a burnout-detention boyfriend/rebellious-cheerleader girlfriend dynamic that doesn’t feel like it would last a long weekend. Fittingly, when Eric rises from the grave after he and Shelly are murdered by henchmen on the orders of evil bigwig Vincent Roeg (Danny Huston), he proves pretty inept at undead vengeance. It’s not just that he’s not much of a fighter — that doesn’t matter when your body regenerates thanks to powers granted by a mystical crow from the afterlife. He’s also exasperatingly slow to accept what’s happened to him, he untangles the bad business Shelly was involved in only really by accident, and he doesn’t even put on a trench coat until the final act. The way that Eric fumbles his way toward retribution is right on the verge of funny — at one point, he gets run over by a truck — but The Crow can’t bring itself to display a sense of humor. Instead, it makes up for its hero’s initial bumbling by raising its gore quotient later on.

It’s a lot to ask, following in the footsteps of a subculture mainstay. If there were any sense of intentionality behind this new Crow , I’d say it’s trying to provide representation for the Incompetent Goths out there — the IncompeGoths who get an illegible stick-and-poke on their cheekbone, who are indifferent to how goofy their single dangly earring looks, and who keep getting sent back to mystical purgatory to be lectured by a supernatural mentor that IMDb assures me has a name, Kronos (Sami Bouajila). But this film isn’t coherent enough for that. Its baddie, Vincent, is an immortal arts patron of sorts who made a deal with the devil but spends the movie trying to track down a cell-phone video he’s worried will get him in trouble. It takes place in an apparently American city where almost every resident has a different international accent. Shelly is desperately on the run from a man with enormous power, reach, and demonic connections, and the first thing she and Eric do when they escape from rehab is go back to her luxury apartment, with its chubby furniture, and get trashed together.

Look, deep thoughts and deeply held emotions aren’t for everyone, and there’s something blissfully empty-headed about the scene in which Shelly, posing with a book at an Instagram-ready picnic with some random friends, informs Eric that she’s reading Rimbaud. If only The Crow were a little more self-aware, it could be a cult classic in its own right — though probably not the kind its makers were hoping for.

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‘The Crow’ Review: Bill Skarsgård Is an Emo Angel of Death in This Pretty Corpse of a Thriller

Ryan lattanzio, deputy editor, film.

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Bill Skarsgård is an inked-up, goth angel of death in Rupert Sanders’ dreary new spin on “The Crow,” here an adaptation of James O’Barr’s supernatural graphic novel series rather than a retread of Alex Proyas’ controversial 1994 cult favorite. (That Proyas’ version remains a film maudit is an understatement, as star Brandon Lee was killed by a prop gun during a production completed in his honor with special effects and a stunt double.)

Setting up Eric as a traumatized Freudian headcase haunted by a hardscrabble childhood somewhere in Michigan, “The Crow” opens gruesomely on a dying horse impaled by barbed wire, a young Eric (Solo Uniacke) unable to save the animal or a deadbeat mother at home. That’s about as deep an exploration into his past as this movie goes, flashing forward to his adulthood, where unspecified demon-driven addiction lands him in a rehab center. Also there is Shelly (the musician and avant-garde artist FKA Twigs), on the run from a vaguely set-up fleet of elite criminals led by Vincent Roeg (Danny Huston, capable of elevating even the most undercooked material with his suave presence). She’s haunted by an iPhone video whose contents implicate her in a murder — and which are revealed in more graphic detail much later, but “The Crow” is almost whiplash-inducing in how quickly it throws us into the action with little information.

They take drugs, fuck, and read tortured poet Rimbaud in the most on-the-nose gothic literary reference in material steeped in them. Elsewhere, Shelly’s friend Zadie (Isabella Wei) is murdered by Vincent, whose telepathic evil power involves whispering something awful into a victim’s ear, tapping into the darkest parts of their soul, and compelling them to kill themselves. An intriguing murderous modus operandi that should be more horrifying than it is as the bodies of hollow characters pile up.

The mystical hokum and dank, soggy Detroit atmosphere of the movie (Steve Annis handles cinematography) combine for an experience that feels just a bit mid-aughts emo, with Baylin and Schneider’s screenplay doing little to yank this story (first published in 1989) into a contemporary context. A gory sequence set to “Ropert le diable” as Eric descends upon an opera house is impressively staged, with realistic bullet wounds that ooze blood and smoke as Skarsgård empties yet another gun into an evil lackey.

Eric’s invincibility and newfound power to escape death — he feels all the pain, though, as bullet wounds knock the wind out of him or a car chase sequence leaves bones sticking out of his body — limit the suspense as Skarsgård tears through set pieces. Why doesn’t anyone think about just decapitating this guy? Could he regenerate his head as easily as his wounds, too? That I’d like to see.

Skarsgård’s performance, more compelling in the actor’s fighterly physical carriage than in the dramas that have shaped him into the sort of person who would wear a black trenchcoat and lather himself in dark eye makeup a la a twinkier Robert Smith, is an intriguing tease of the Count Orlok he’ll be playing in Robert Eggers’ upcoming “Nosferatu.” Here, the actor is often shirtless, gobsmackingly muscled, mulleted, top-to-toe tattooed, and it’s sexy, even if his character is a walking void, a color-killed soul often just deadly onscreen in failing to make us care to be along for the ride. “The Crow” is not a waste of talent or resources; worse, it just hangs there on the screen, as undead as Eric himself.

“The Crow” opens in theaters from Lionsgate on Friday, August 23.

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The 4 Best Portable DVD Players for Every Movie Buff and Traveler

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Similar to having a roadside assistance plan, a portable DVD player is one of those things you don’t realize is an absolute lifesaver until you need it. This trusty device can keep your kids entertained in the backseat on a road trip , add some movie magic to a camping trip, or give you a much-needed distraction during a blackout — popcorn not included (but highly recommended!).

Just like flip phones , point-and-shoot cameras , and wired headphones , portable DVD players are one of many retro tech gadgets that are making a comeback. This trend reflects a growing interest in disconnecting from the online world and tapping into a more intimate (and old school!) experience, whether we're watching movies or taking photos of friends. Here’s a breakdown of portable DVD players that promise to make every night a movie night , even when the Wi-Fi is sluggish or the power is out.

Best Portable DVD Players

• Best Overall: DBPOWER 12” Portable DVD Player
• Big Screen: BOIFUN 17.5” Portable DVD Player
• Best Budget: YOTON 9.5" Portable DVD Player
• Best Blu-ray Player: NAVISKAUTO 17.5" Portable Blu-Ray DVD Player

What to Consider

Portable DVD players can vary greatly in terms of screen size, battery life, audiovisual quality, and price. You’ll want to strike a balance between something that works for your specific needs — whether that’s enjoying cinematic masterpieces on a high-resolution screen or a durable device for young kids that can withstand some wear and tear—and something that doesn’t break the bank. Here are some factors to consider as you shop for a portable DVD player.

Battery Life

When you’re investing in a portable DVD player, no other factors are quite as important as battery life. At a minimum, it should be able to play a typical two-hour movie on a full charge. But ideally, it could hold enough power to keep you entertained for several hours, as you’re most likely to use the device when you have little to no access to a power outlet. Check the specs of the device, along with reviews from other customers, to get a sense of a portable DVD player’s battery life.

Screen Resolution and Size

Look for a portable DVD player with a clear, high-resolution screen that will display a crisp, high-quality image. Size matters too, especially for travel—opt for a balance between portability and screen size for optimal viewing. If you plan to use the portable DVD player mainly at home, consider upgrading to a larger screen for a better picture.

Audio Components

Like image quality, good audio makes for a better movie-watching experience. Look for portable DVD players with at least two built-in speakers and a headphone jack so you can listen privately when you’re in a noisy environment or shared space. If you prefer wireless headphones, invest in a player with Bluetooth connectivity.

Quality and Durability

Unlike devices designed primarily for home use, portable DVD players are intended for use on the go. That means they should withstand some bumps and drops. Look for a device with a solid build quality. If you see other customers complain that the portable DVD player they bought broke easily, keep looking for something more durable—especially if your kids are going to use it. The best portable DVD players should serve you for several years or more.

How We Selected

We read hundreds of reviews from Amazon customers to see which portable DVD players delivered the best picture quality and projected clear sound. Another major factor we considered was battery life. We generally looked for portable DVD players that could play at least two full-length movies before needing to be recharged and noted when a device had a subpar battery. We rounded out our review with picks that could be great for travel and could read Blu-ray discs (these are for movie buffs, after all!).

Here’s a look at which devices topped our list of the best portable DVD players.

DBPOWER 12” Portable DVD Player

The DBPOWER 12" portable DVD player won us over for its long battery life (enough to watch two to three movies on a full charge!), vibrant screen, and travel-friendly design. It's less than 2 pounds, so you'll barely notice it in a bag. And it comes with a lot of great features for a relatively low price, earning it our pick as the best overall portable DVD player. Families who love to travel will appreciate having this portable DVD player on their next getaway. One of the device’s coolest features is its 10.5-inch swivel screen — it has a sturdy joint that allows it to rotate up to 280 degrees and flip 180 degrees, making it easier to help kids in tight spaces (like the backseat of a car) get a clear, glare-free view of their movie. It can even be attached to the car headrest on road trips.

With its high-capacity 2500 mAh rechargeable lithium battery, this portable DVD player promises up to five hours of run time—enough to watch a couple of movies. It boasts an AV output, so you can watch movies on a bigger screen, along with inputs for headphones, USB cables, and a microSD card. In other words, you should have no trouble connecting it to all sorts of media. It also comes with a handy remote control for added convenience.

While we wish it had better sound quality, we think this portable DVD player gets the job done well. It would make a wonderful gift for parents of toddlers who want a way to keep their little ones entertained on long car rides.

YOTON 9.5" Portable DVD Player

Whether you’re looking for a gift for a traveler or a reliable device that won’t break the bank, this portable DVD player deserves your consideration. At just 1.5 pounds and 9.5 inches — most of which are taken up by the 7.5-inch screen — this compact device is easy to pack in a bag for a trip.

It features a set of dual speakers to deliver stereo sound. Its built-in 2500mAh battery will keep the device powered for 4 to 6 hours at a time, which is enough for at least a couple of movies. It also comes with a power adapter and a car charger. As for connectivity, this portable DVD player features inputs for a USB cable, SD card, and 3.5-millimeter headphone jack.

Another cool feature of this player is its break-point memory function. If you turn off the device in the middle of a movie and then turn it back on again, it will take you to the exact place you left off.

Given its sub-$50 price tag, this portable DVD player boasts an impressive array of features. We think it’s one of the best values you can get if you don’t mind looking at a small screen.

BOIFUN 17.5” Portable DVD Player

Size isn’t everything, but it can make a huge difference when watching a movie — which is what makes it one of the best portable DVD players you can buy. Its large 15.6-inch screen, which can swivel and flip, means you won’t have to squint to see the details of the display.

Considering the screen size, it’s especially impressive that this device can play movies continuously for up to six hours on a single charge, thanks to its 5000mAh Battery. It comes with an AC power adapter and a car charger so you can recharge the battery when you’re on the move. You’ll also find a remote control and AV cable in the box.

Given its long battery life and big screen, this portable DVD player would be a fun gift for a kid who has become obsessed with movies and wants to be able to watch them anywhere they go. It’s also worth having around at home as a back-up to your TV during a power outage — the entire family can gather around the player for movie night on the couch.

NAVISKAUTO 17.5" Portable Blu-Ray DVD Player

This portable DVD player will make you feel like you have a private cinema at your fingertips. Its screen is impressive, spanning 15.4 inches and offering 1920x1080 resolution. It delivers a Dolby audio experience through its dual speakers or your home stereo using the included aux cable. Unlike many other portable DVD players, this one can play Blu-ray discs, which give you a sharper picture and better sound quality.

All those benefits do come with a downside, though — a big drain on the battery. The built-in 4,000mAh lithium-ion only runs for about three hours at full charge, so you’ll want to keep a charger handy if you’re in the mood to binge-watch a series or get through “Gone with the Wind” in its entirety.

It’s on the pricier side, but overall, this portable DVD player is a solid pick if you want something that plays Blu-ray discs (or you’re looking to splurge on a gift for a movie buff).

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Review: Black Dog is a sincere and moving debut about the daunting leap into adulthood

Directed by george jaques, black dog follows two teenage british boys from contrasting london backgrounds who join together for a road trip.

Poppy Bilderbeck

Black Dog poignantly portrays the beauty, chaos and loss which comes with turning eighteen but it could've done with being left to breathe.

Directed by George Jaques, who also wrote and produced the film alongside Avatar: Way of the Water star Jamie Flatters, Black Dog is a deeply meaningful and moving debut, instigating important messages about young people's - and particularly men's - mental health and preparing for the daunting leap into adulthood.

Flatters stars next to Keenan Munn-Francis in the movie; Jaques' first feature-length film which he himself first started writing at the young age of 18 - and there's few signs that give this away.

Catch the trailer below:

The coming-of-age film follows teenage British boys Nathan (Flatters) and Sam (Munn-Francis) from contrasting London backgrounds who join together for a road trip, not only journeying up to the North but also navigating their way into their adult years.

Both are struggling to let go and make sense of their pasts and grappling with the unpredictability of their futures, the duo prove to be an, at times, quite violent and almost detrimental yin to the other's yang.

Jaques and Flatters' script is precise, at times both heart-wrenchingly but also humorously so, and blossoms as the film goes on - as someone who grew up in London and spent days on the common glugging Glen's vodka straight from the bottle and coughing on Pall Mall cigarettes trying to grow up too fast, I felt transported.

It's impossible to watch Black Dog and not feel a chord struck within you - whether it be a pang of nostalgia or a chime with a past version of your own adolescent self.

The cinematography of the shots is well-considered, grows more engaging and emphasises the beauty of certain moments, both this and the script complimenting the impressive display of acting on show from Flatters and Munn-Francis.

Munn-Francis' portrayal of the vulnerable, anxiety-ridden Sam is exquisite to watch, the young actor excelling at portraying the intricate layers and depth of the character.

From his first close-up, his eyes say it all, Munn-Francis maintaining a masterful hold on channeling such pure and strong emotion in just one glance or stare.

Flatters' character of Nathan is aggressively intense from the get-go. Nathan is highly juxtaposed to Sam, so much so initially, the character almost felt too jarring to watch when compared to the initial tone of the rest of the film. However, as the film progresses, this intensity is highly justified and has clearly been thoroughly considered by both Jaques as director and Flatters.

Flatters' focused commitment to the complexity of Nathan's background and trauma manifesting itself in the heartstring-tugging portrayal of a teenager writhing in a whirlwind of conflicting emotions results in a beautiful arc to Nathan's emotional journey.

But, the use of music in the film did jar with the nuance of the script alongside the earnest nature of the performances on screen.

Whether it be a sound similar to a pounding heart used in one tense scene or music used as filler in others, I wish silence had been embraced instead.

I understand the fear that can arise from too much quiet or stillness and the desire to push the viewer in the right direction of emotion or to signal a scene as holding greater significance in a character's journey, but the use of music - at least at the start of the film - felt too much.

It felt used in a bid to force viewers' reaction when actually certain moments would've been more powerful had they been left to breathe - the cinematography of the shots, the captivating standard of acting and well-crafted script left to truly shine.

The transitions and intercutting between shots felt like it could've done with being slightly smoother too.

Saying that, similarly to how Nathan and Sam's physical journey to Scotland gives way to a growth within them, the film itself mirrors this journey as well, growing stronger and stronger as it progresses - the creatives involved learnt a lot along the way too.

While the music felt slightly forced and distracting in earlier scenes, as Black Dog plays on the use of music becomes far more refined.

One scene in particular when Nathan and Sam are in the car, the introduction of music beautifully highlights the moment of connection between the pair - the shots, lighting and sound working together in a moment of pure harmony and emotion which was skin-prickling to experience.

Several lines in the script are also given their moments to breathe as the journey continues, allowing the true power of the words and characters' emotions to show, triggering a natural and even more clenching tug on the heart-strings.

The script fits a lot in and could even be considered as squishing in too much at times, particularly the amount of sensitive topics and themes it deals with - from touching on the foster care system, to diving into certain mental health-related conditions to its multiple embodiments of grief.

There are two scenes in particular which are quite shocking to view - one in which my hand flew to my mouth in horror and another, when the realization of what was going on made my heart feel like it was almost physically aching.

On one hand this is great - the film isn't predictable, which many other coming-of-age films can fall into the trap of. On the other, Black Dog could certainly come with a content warning or three.

In one of the moments, I questioned whether the intensity of the moment had been appropriately built up to, but at the same time, I reflected that's simply not always how life works.

And it definitely didn't fall into the trap of a cheesy ending either - I was close to punching the air in triumph. Black Dog was wrapped up so flawlessly I was left with a huge beam on my face - with a few tears having sprung to my eyes too - and wanting more.

There's no doubt about the film being lovingly and dedicatedly crafted by up-and-coming, highly talented - and driven - young creatives who've been inspired by their own vulnerabilities and tender experiences to not just make something beautiful, but to provoke much-needed conversation.

Black Dog is a sincere, at times heart-wrenching, but also beautiful portrayal of the chaos of being a teenager on the cusp of entering adult life and is a real coming-of-age film by people who actually understand and appreciate what it’s like to grow up in the mayhem of the world as it is right now.

Black Dog is available to buy and watch on Apple TV and Amazon Prime .

Topics:  Film and TV , Entertainment , UK News , Amazon

Poppy Bilderbeck is a Senior Journalist at LADbible Group. She graduated from The University of Manchester in 2021 with a First in English Literature and Drama, where alongside her studies she was Editor-in-Chief of The Tab Manchester. Poppy is most comfortable when chatting about all things mental health, is proving a drama degree is far from useless by watching and reviewing as many TV shows and films as possible and is such a crisp fanatic the office has been forced to release them in batches.

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ABA, associations: Brokered deposits proposal moving forward without enough time, data for review

The FDIC board in July voted 3-2 to expand the definition to capture many deposit placement arrangements that currently do not meet the criteria for enhanced scrutiny under current regulation, such as sweep deposits and those related to financial technology and cryptocurrency. The proposal would amend a 2020 rule that FDIC Chairman Martin Gruenberg and the other board members believe is too narrow in scope. In their letter, the associations said the decision to move forward with the proposal was particularly concerning given the 2020 rulemaking was preceded by years of public comment and industry outreach—none of which took place with the new proposal.

“In the absence of data and sufficient rationale for revising the brokered deposits framework at this time, we believe the proposal should be withdrawn until the FDIC conducts additional analysis and makes it available to the public for comment,” the associations said.

They added that if it isn’t withdrawn, then the FDIC should publish the data driving the proposal and extend the comment period by 60 days after publication to give all interested parties time to study that data and provide informed feedback. Such an extension would align the public comment period with the comment period provided when the FDIC last proposed changes to its brokered deposits regulations, they said.

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