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It takes two, common sense media reviewers.

Olsens in Prince and the Pauper meets Parent Trap.

A Lot or a Little?

What you will—and won't—find in this movie.

The movie's action is propelled by the main charac

Jilted bride slaps groom, threatens to hit two chi

An engaged man flirts with and nearly kisses a wom

Mild swearing by adults; frequent joking use of ph

Elizabeth Arden and Chanel are visible cues of ste

Parents need to know that It Takes Two is a lighthearted comedy that's predictable from start to finish but is fine family fare. An orphan is told that she can't be adopted by a single woman because "it's better to have a mother and a father." A soon-to-be stepmother is mean and connives to send her fiance's…

Positive Messages

The movie's action is propelled by the main characters' well-meaning deceptions; while it all ends happily, the girls do sneak away from home and camp, steal a horse, and trigger a food fight.

Violence & Scariness

Jilted bride slaps groom, threatens to hit two children.

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

Sex, Romance & Nudity

An engaged man flirts with and nearly kisses a woman who is not his wife. A romantic kiss between adults.

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

Mild swearing by adults; frequent joking use of phrase "I'm going to kill you."

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

Products & Purchases

Elizabeth Arden and Chanel are visible cues of stepmother's materialism.

Parents Need to Know

Parents need to know that It Takes Two is a lighthearted comedy that's predictable from start to finish but is fine family fare. An orphan is told that she can't be adopted by a single woman because "it's better to have a mother and a father." A soon-to-be stepmother is mean and connives to send her fiance's daughter to boarding school. Kids mock one another about believing in Santa Claus and the Tooth Fairy. Children run away from their homes and summer camps repeatedly. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Videos and photos.

Community Reviews

• Parents say (5)
• Kids say (7)

Based on 5 parent reviews

If you want your children to stop believing

What's the story.

In IT TAKES TWO, twins Mary-Kate Olsen and Ashley Olsen play strangers who just happen to look alike and share a penchant for match-making. Amanda Lemmon (Mary-Kate) is a tough cookie -- an orphan who fears being adopted by a family she's never met instead of by the woman who loves her like her own daughter, orphanage director Diane Barrows ( Kirstie Alley ). Her counterpart, Alyssa Callaway (Ashley), lives in the lap of luxury with her billionaire father ( Steve Guttenberg ) but sees that her father's new fiancee is up to no good. The girls meet at summer camp and hatch a plan to bring Diane and Roger Callaway together, experiencing life on the other side of the grass in the process.

Is It Any Good?

There is nary a plot trick in the movie that hasn't been seen before, and even younger viewers will probably figure out who's going to end up with whom by the end of the second scene. Still, the cast -- particularly Allie and Guttenberg -- put their all into it, and there are genuine laughs as the girls pull the strings to get the grownups to meet. Both Olsen girls fare better when they're not reaching for Alyssa's blue-blood articulation or tawking Brooklyn-tough-guy as Amanda; it comes as a relief when they drop the artifice and are allowed to let their comic chops stand alone.

Talk to Your Kids About ...

Families can talk about the likelihood of meeting your doppelganger like Alyssa and Amanda do. What would you do if you ran into someone who looked just like you? Is there anyone you know who you'd like to change places with for a day? Why?

Movie Details

• In theaters : November 17, 1995
• On DVD or streaming : June 11, 2002
• Cast : Ashley Olsen , Kirstie Alley , Mary-Kate Olsen
• Director : Andy Tennant
• Inclusion Information : Female actors
• Studio : Warner Bros.
• Genre : Family and Kids
• Run time : 101 minutes
• MPAA rating : PG
• MPAA explanation : mild language
• Last updated : June 15, 2024

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.

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The Parent Trap (1961)

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Movie Reviews

Tv/streaming, great movies, chaz's journal, contributors, black writers week, it takes two.

Now streaming on:

“It Takes Two" is the kind of movie that ought to put rocks in its pockets to keep from floating away. It's so featherbrained and lightweight, it almost elevates its inconsequence into a style.

Because the plot is numbingly predictable, that leaves only the performers as a source of entertainment.

Luckily, they're quite engaging: Kirstie Alley continues to be the robust girl next door with the big smile, Steve Guttenberg is likable in the Donald O'Connor role, and the Olsen twins, from TV's "Full House," play the two look-alikes - which is a relief, since it's always such a distraction when one actor plays a dual role and you have to spend the whole movie trying to spot the trick photography.

The plot, inspired by Mark Twain's The Prince and the Pauper, involves an orphaned street urchin named Amanda Lemmon ( Mary-Kate Olsen ) and a billionaire's daughter named Alyssa Callaway ( Ashley Olsen ). Both are living under dire threats. Amanda is about to be adopted into the evil Butkus family, whose father uses child labor in his junkyard. And Alyssa's dad, a widower played by Guttenberg, is about to marry the hateful Clarice (Jane Sibbett), who plans to ship the kid straight off to boarding school.

The rich folks go to their country estate, which is across the lake from a summer camp for orphans, donated in memory of Callaway's late wife. Amanda and Alyssa both run away, are mistaken for each other, carry off the deception, and later meet up and decide to conspire. Amanda admires her social worker Diane (Kirstie Alley), and both girls think she'd make a much better wife than Clarice.

This is obviously such an excellent idea, and Clarice is such a gushing phony, that it's all the movie can do to prevent the inevitable until the final scenes. Along the way the girls set up a Meet Cute between Diane and Callaway, involving runaway horses, that leads to a food fight and a scene where they jump into the lake fully clothed and almost kiss. Clearly, Callaway does not have his mind focused on marriage.

"It Takes Two" is the kind of movie where both the butler (genial Philip Bosco) and the fiancée find out about the other woman by spying her through a convenient telescope. Where both girls are effortlessly able to hide under or behind anything, eavesdrop on everything, and make up plans on the spur of the moment. Where the race against time to the altar involves a Jeep, a helicopter and a horse-drawn carriage. Where the girls are wise beyond their years.

Where sweet little blond 11-year-old girls can get adopted only by Dickensian villains. And where the key love scene involves two people lovingly picking macaroni and cheese out of each other's hair.

The movie is harmless and fitfully amusing. It contains one clever line ("Guys like him like girls with food names - Cookie, Candy, Muffin. . ."). But someone should have informed the filmmakers that the name Butkus, synonymous in the movie with all that is evil, will always have a certain beauty - indeed, will sound not sinister but melodic - among those for whom line-backing has any meaning at all.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film credits.

It Takes Two (1995)

Rated PG For Some Mild Language

Mary-Kate Olsen as Amanda Lemmon

Kirstie Alley as Diane Barrow

Ashley Olsen as Alyssa Callaway

Steve Guttenberg as Roger Callaway

Directed by

• Andy Tennant
• Deborah Dean Davis

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“The legacy of the film is the empowerment of the little girls.”

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MOVIE REVIEW : ‘It Takes Two’: A Predictable but Fun Romp

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There’s a show-biz axiom about actors not going up against kids on the screen, but in the giddy, lively “It Takes Two,” Kirstie Alley more than lives up to her star billing--even if she and her equally adept co-star Steve Guttenberg are teamed with those practiced scene-stealers, the Olsen twins of TV’s “Full House.”

Alley is Diane Barrows, a hearty Manhattan orphanage caseworker looking for Mr. Right and wishing he and she could then adopt feisty 9-year-old Amanda Lemmon (Mary-Kate Olsen). Barrows knows she should keep her detachment, but she finds streetwise Amanda irresistible. Meanwhile, 9-year-old Alyssa Callaway (Ashley Olsen) is in an opposite predicament: how to keep her long-widowed father Roger (Guttenberg) from marrying the dreadful socialite Clarice (Jane Sibbett)--a grasping, child-hating airhead. As it happens the vast Callaway country estate--Roger is a pioneer cellular-phone tycoon worth $20 billion--is across the lake from a summer camp he has established and where Diane has taken her young charges.

Anyone the age of Amanda and Alyssa and above will be able to figure out instantly that after the two girls cross paths, have fun and adventure exchanging lives, that they’re going to play Cupid.

Writer Deborah Dean Davis and director Andy Tennant are fully aware of the absolute predictability of their material and therefore make the getting to an inevitable ending as much fun as possible. They turn a plot that is entirely a contrivance into a sturdy structure for farce.

Davis is a skilled writer, but it’s Tennant--here moving from TV to films--who makes exhilarating what in lesser hands could so easily have seemed a stale and old-fashioned “Princess and the Pauper” turn. It would seem he persuaded everyone involved that an affectionate tongue-in-cheek approach was the only way to go.

In both knockabout physical comedy and quizzical repartee, Alley exudes a roll-with-the-punches good nature. Her lush figure and touch of klutziness make Alley endearingly real and attractive.

Guttenberg brings a self-deprecating charm to the unpretentious Roger, and Philip Bosco is the perfect butler, discreet but loyal, unobtrusive in attempting to steer his boss away from a disastrous course. At first you have the feeling that Sibbett, in playing the hilarious woman-you-love-to-hate Clarice, won’t have any place to go with her, but she becomes the constant foil, against which everyone else evolves.

As for the Olsen twins, they’re perky, precocious types, throwbacks to an earlier Hollywood in which children tended to perform rather than act and are therefore ideal for “It Takes Two.”

* MPAA rating: PG, for some mild language. Times guidelines: It is suitable for all ages.

(BEGIN TEXT OF INFOBOX / INFOGRAPHIC)

‘It Takes Two’

Kirstie Alley: Diane Barrows

Steve Guttenberg: Roger Callaway

Mary-Kate Olsen: Amanda Lemmon

Ashley Olsen: Alyssa Callaway

Philip Bosco: Vincenzo

Jane Sibbett: Clarice Kensington

A Warner Bros. release of a Rysher Entertainment presentation. Director Andy Tennant. Producers James Orr and Jim Cruickshank. Executive producers Keith Samples, Mel Efros. Screenplay by Deborah Dean Davis. Cinematographer Kenneth D. Zunder. Editor Roger Bondelli. Costumes Molly McGuiness. Music Sherman and Ray Foote. Production designer Edward Pisoni. Art director Vlasta Svoboda. Set decorator Enrico Campana. Running time: 1 hour, 40 minutes.

* In general release throughout Southern California.

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It Takes Two

Dove review.

This family comedy was written and produced by the same creative team that gave us THREE MEN AND A BABY and SISTER ACT 2. In this case, the film turns out to be fairly decent with only a few disappointing elements. One obscenity is spoken by Amanda undoubtedly to avoid a G rating for the film. Also, some hells and damns are included and the term “butt” is used a few times. The exclamation “Oh My God” is also used a number of times. Although Diane and Roger fall in love, they do not become sexually involved and only near nudity occurs in the form of low cut dresses and when Clarice is seen in her underwear. Roger is a loving father and is torn between his marriage commitment to Clarice and his love for Diane. Diane is also loving and sympathic and thoroughly devoted to the children under her care. Although there are some unfortunate elements in the film, they are not sufficient to keep it from being a reasonably wholesome family movie.

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It Takes Two Reviews

The film's underlying sentiment is conveyed effectively, if obviously.

Full Review | Aug 3, 2009

Adorable munchkins or cloying brats? You be the judge.

Full Review | Original Score: 2/4 | Aug 3, 2009

Alas, the Olsen girls are not immediately heart-warming.

Full Review | Jun 24, 2006

Full Review | Original Score: 2/5 | Jul 21, 2005

To quote one of the characters, 'We mustn't! We mustn't!'

Full Review | Original Score: 1/5 | Dec 18, 2004

Full Review | Original Score: 2/5 | Sep 4, 2003

Full Review | Original Score: 2/5 | Aug 22, 2003

Under the direction of Andy Tennant, the Olsen sisters lay on the icky-poo cuteness with several trowels, often delivering their lines as though they were reciting the alphabet.

Full Review | Original Score: 1/5 | May 20, 2003

Full Review | Original Score: 1/5 | Jan 31, 2003

A reasonably good take on a great classic.

Full Review | Original Score: 62/100 | Dec 31, 2002

I'd rather stick a needle in my eye than sit through this again

Full Review | Original Score: 2/5 | Sep 17, 2002

Full Review | Original Score: 1/5 | Jul 26, 2002

Full Review | Original Score: 1/5 | Jul 25, 2002

A paper-thin, predictable family comedy.

Full Review | Original Score: 1.5/5 | Jun 5, 2002

Writer Deborah Dean Davis and director Andy Tennant are fully aware of the absolute predictability of their material and therefore make the getting to an inevitable ending as much fun as possible.

Full Review | Original Score: 3/5 | Feb 13, 2001

It's so featherbrained and lightweight, it almost elevates its inconsequence into a style.

Full Review | Original Score: 2/4 | Jan 1, 2000

A rote variation on Mark Twain's The Prince and the Pauper that is marginally salvaged by those spunky Olsen twins from ABC's Full House.

There is little original in the film. Most scenes you have seen countless times before. They even have an old fashion food fight. I thought everyone had gotten tired of seeing them by now.

Alley, who is one of the best comic actresses around, does her best to liven things up, but this movie belongs to the kids. In general, she's fighting a losing battle.

It's not a bad little time-waster for the kiddies.

Full Review | Jan 1, 2000

It Takes Two (2023)

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Where to watch

It takes two.

Directed by Andy Tennant

Two identical strangers. Two different worlds. One perfect match.

Identical 9-year-olds from very different backgrounds: orphaned Amanda and wealthy Alyssa meet at summer camp and decide to switch places -- and play matchmaker between Alyssa's dad, Roger, and the kind social worker who cares for Amanda.

Kirstie Alley Steve Guttenberg Ashley Olsen Mary-Kate Olsen Jane Sibbett Philip Bosco Michelle Grisom Desmond Robertson Tiny Mills Shanelle Henry Michèle Lonsdale Smith Sean Orr Elizabeth Walsh Dov Tiefenbach Douglas O'Keeffe Anthony Aiello LaTonya Borsay Michael Vollans Paul O'Sullivan Lawrence Dane Gerard Parkes Gina Clayton Mark Huisman Marilyn Boyle Ernie Grunwald Ellen-Ray Hennessy Annick Obonsawin Austin Pool Andre Ottley-Lorant Show All… Philip Williams

Director Director

Andy Tennant

Producers Producers

James Orr Jim Cruickshank Andy Cohen Laura Friedman

Writer Writer

Deborah Dean Davis

Casting Casting

Amy Lippens

Editor Editor

Roger Bondelli

Cinematography Cinematography

Kenneth Zunder

Assistant Directors Asst. Directors

Mick MacKay Rocco Gismondi

Additional Directing Add. Directing

Dennis Scott

Executive Producers Exec. Producers

Keith Samples Mel Efros

Additional Photography Add. Photography

Maris H. Jansons

Production Design Production Design

Edward Pisoni

Art Direction Art Direction

Vlasta Svoboda

Set Decoration Set Decoration

Enrico Campana

Special Effects Special Effects

Jason Board

Visual Effects Visual Effects

Brian Jennings

Stunts Stunts

Composers composers.

Sherman Foote Ray Foote

Sound Sound

David Lee Craig Berkey

Costume Design Costume Design

Molly Maginnis

Makeup Makeup

Patricia Green Edie Pfluegl

Hairstyling Hairstyling

David R. Beecroft Karola Dirnberger

Dualstar Productions Orr & Cruickshank Rysher Entertainment Warner Bros. Pictures

Releases by Date

17 nov 1995, 14 jun 1996, 20 jun 1996, 01 sep 2022, 10 jul 1996, 24 mar 1997, releases by country.

• Physical DVD
• Digital 10 Netflix
• Theatrical 0
• Theatrical APTA
• Theatrical PG

101 mins   More at IMDb TMDb Report this page

Popular reviews

Review by Lucy ★★★★½ 19

constantly thinking about when someone on this site tried to discredit my taste by comparing my rating of this movie to my rating of citizen kane… ANYWAYS what is everyone’s favorite MK & A movie? let’s discuss

Review by Lucy ★★★★½ 4

aintcha never gonna wanna doncha HAFTA go to the bathroom?

Review by beck ★★★★★

the parent trap was found dead

Review by tara ★★★★ 2

Review by char ★★★★★

Where is Mary-Kate’s Oscar for that NYC accent?

Review by Christian Di Leo ★★★ 1

The essential "Mary-Kate and Ashley" movie. It ain't no The Parent Trap but it's almost as good, and funny enough, they both have summer camp involved in their stories. The mac and cheese food fight scene in this aways makes me fucking crave a bowl and I also remember when i was young, I always wanted to try a sloppy joe because I saw it in this movie. Didn't end up liking it and never asked for one again.

🏰👨‍👧🔄👩‍👧🏕🐎👩‍❤️‍💋‍👨🎈🐌💒

Review by rachel ★★★★

this is literally the parent trap but you know what? it was still a serve

Review by scoobert doo (aka mo) ★★★★½ 2

I hope one day we get a sequel 

It Takes (2): The People vs Butkis 

Review by umme ★★★

how many movies am i gonna watch where two doppelgängers switch places? the answer is all of them

Review by Caulini Tortellini ★★★★★ 1

Anyone who doesn't love this movie has a stick up their butkis

Review by Christian Di Leo ★★★ 2

R.I.P. Kirstie Alley. This was the first movie I ever saw you in and you truly made us audiences feel that can't-eat, can't-sleep, reach-for-the-stars, over- the-fence, World Series kind of stuff.

Review by #1 Bratz Fan ★★★★

This was a funny, good movie that I enjoyed a lot. What really stands out, though, is that it’s about two identical strangers (Mary-Kate and Ashley) from different backgrounds, who were apparently not separated at birth? It implies that they are truly not related. There is never any explanation for why they look exactly the same and are the exact same age. These things just happen! They end up sisters through adoption, but for the rest of their lives, people are gonna be like, “oh, so you guys are twins?” and one of them will be like, “actually, I’m adopted.”

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It Takes Two Reviews

• 45   Metascore
• 1 hr 41 mins
• Drama, Family, Comedy
• Watchlist Where to Watch

A tycoon's daughter (Ashley Olsen) trades places with a similar-looking orphan (Mary-Kate Olsen) and schemes to get her father to marry the orphan's social worker (Kirstie Alley). Roger: Steve Guttenberg. Vincenzo: Philip Bosco. Clarice: Jane Sibbett. Carmen: Michelle Grisom.

Adorable munchkins or cloying brats? You be the judge. This modern-day hybrid of The Prince and the Pauper and THE PARENT TRAP is a slickly contrived showcase for the professionally cute Olsen Twins, late of TV's Full House. Little Mary-Kate Olsen (or is it Ashley?) plays a street-smart orphan; wee Ashley (or could it be Mary-Kate?) is the daughter of a rich widower (Steve Guttenberg: of this we're reasonably sure). Thrown together one summer under most improbable circumstances, the identical tots set about playing Cupid for Guttenberg and comely social worker Kirstie Alley. Once you've got the premise, subsequent events are as predictable as any episode of the sitcom that launched the twins' careers. We hope they have a difficult adolescence and grow up to be a double-barrelled Drew Barrymore.

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It Takes Two Parent Guide

Mary-Kate Olsen is Amanda Lemmon, an orphaned child about to be adopted into an evil family that collects children so they can provide cheap labor in the family junk yard.

Release date November 17, 1995

Run Time: 101 minutes

Get Content Details

The guide to our grades, parent movie review by rod gustafson.

The Olsen twins are at it again, this time in a very loose adaptation of Twain’s The Prince And The Pauper. Each twin plays a child in distress. Mary-Kate Olsen is Amanda Lemmon, an orphaned child about to be adopted into an evil family that collects children so they can provide cheap labor in the family junk yard. Ashley Olsen plays Alyssa Callaway, a rich child whose mother died, and now her father, Roger Callaway (Steve Guttenberg) is about to marry Clarice Kensington (Jane Sibbett), a wolf in mink’s clothing. The first order in Clarice’s new marriage is to send lovely little Alyssa off to boarding school for the rest of her days.

The writer’s first job is to get these two girls together and make the classic switch-a-roo. Then they can come to the conclusion that Alyssa’s dad should marry Amanda’s social worker, Diane Barrows (Kristie Alley). The rest of the movie involves getting these two together, which is quite easy, as the Callaways live across the lake from a summer camp that he started in memory of his late wife. And by now you know what little girl is attending this camp.

It Takes Two doesn’t miss any predictable moments. I haven’t seen a camp movie yet without a food fight, and this one didn’t let me down. But us adults need to remember that children often like predictable movies, probably because they haven’t sat through as many films as we have, and they can sense a happy ending. With only a couple of bad words and a bit of child intimidation from the bad guys, this movie will deliver some entertaining moments to your children.

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Rod Gustafson

‘It Takes Two’ Movie Lands at Amazon, Seven Bucks Productions Joins dj2 Entertainment as Producers (EXCLUSIVE)

By Joe Otterson

Joe Otterson

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“It Takes Two” is getting the movie treatment, with the project now set up at Amazon for priority development, Variety has learned exclusively.

Variety reported in January that the game was being adapted for the screen. As previously reported, dj2 Entertainment will produce the film, with Seven Bucks Productions now boarding the project along with Amazon Studios. Dwayne Johnson , Dany Garcia, and Hiram Garcia will produce on behalf of Seven Bucks. According to sources, Dwayne could also star in the film, but nothing is official as of now.

The film adaptation will follow May and Cody who, as they go through a divorce, find their minds transported into two dolls that their daughter, Rose, made to represent them. Now they must go on a wild and fantastical journey to find a way to get back into their bodies.

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“Sonic the Hedgehog” and “Sonic the Hedgehog 2” writers Pat Casey and Josh Miller are adapting the game for the screen and will serve as executive producers. Dmitri M. Johnson and Dan Jevons produce for dj2, while Stephan Bugaj of dj2 executive produces. Josef Fares and Oskar Wolontis of Hazelight Studios, which developed the original game, will also executive produce. Kimberly Bialek will oversee production on behalf of Seven Bucks Productions. dj2 has a first-look deal with Amazon, as do Casey and Miller.

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“It Takes Two” is a unique game in that it does not have a single-player mode, but rather must be played as a co-op game with a friend either in person or online. It has received strong reviews from critics since its release in March 2021. It has won dozens of industry awards, including Game of the Year at the 2021 Game Awards. There are currently over 10 million players worldwide. It was developed by Hazelight and published by Electronic Arts.

Seven Bucks Productions’ recent releases include films like “Red Notice,” “Jungle Cruise,” and “Jumanji: The Next Level.” They are also behind the first “Jumanji” reboot film, “Welcome to the Jungle,” as well as features such as “Skyscraper,” “Hobbs and Shaw,” and “Rampage.” Seven Bucks also produces the popular NBC series “Young Rock,” based on Dwayne’s childhood and early life. Up next for the rapidly-growing company will be the DC films “Black Adam” and “League of Super Pets.”

This is the latest video game project that dj2 has set up in recent years. In addition to the “Sonic the Hedgehog” films, the company is also behind the “Tomb Raider” anime series at Netflix and is currently developing a show based on games like “Disco Elysium” and a film based on “Sleeping Dogs.” They also have the Sterling K. Brown-led film “Coyote Blue” set up at Amazon. Along with their first-look deal with Amazon, dj2 has a second-look deal at Legendary Television.

Casey and Miller are best known for writing the hit “Sonic the Hedgehog” films for Paramount. The first film grossed over $319 million worldwide in 2020, while the second has accumulated over $235 million since coming out earlier in April. Casey and Miller are returning to write the third film in the franchise. They are also behind the Universal Pictures release “Violent Night,” an R-rated Santa action film, due out in December.

Casey and Miller are repped by APA, The Gotham Group, and VanderKloot Law. Seven Bucks is repped by WME. dj2 Entertainment is repped by APA & CDAS. Hazelight Studios is represented by APA.

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It Takes Two review: Teamwork makes the dream work

“It Takes Two is a charming co-op adventure that combines the best ideas from Nintendo and Pixar.”

• Charming story
• Tight platforming
• Varied level design
• Thoughtful co-op
• Joyful interactivity
• Kitchen sink design

While video games can cover a broad range of genres, there’s one frontier that remains mostly uncharted: The romantic comedy . Co-op platformer It Takes Two shows just how much we’ve been missing out on thanks to the gaming industry’s fear of cooties.

Marriage story

Co-llab-o-ration, ‘no shiny shit’.

The EA-published adventure is the latest project by multiplayer studio Hazelight and director Josef Fares, the eclectic director behind A Way Out . Rather than dishing out grim sci-fi or high fantasy, It Takes Two is an unabashed rom-com about the restorative power of communication and teamwork. Imagine a 12-hour couples therapy session by way of Astro’s Playroom .

It Takes Two is a labor of love that has the heart of a Pixar movie and the soul of a Nintendo platformer. Even the most hardened gamers may find themselves falling for the most inventive co-op game since Portal 2 .

It Takes Two doesn’t begin with a traditional meet-cute. Instead, it opens with a couple on the verge of divorce. Cody and May are a bickering married couple who decide to call it quits. When they break the news to their daughter, she does what any confused child would do in the situation: Accidentally traps her parents in the body of two tiny dolls with the help of a magical book.

What follows is a vibrant adventure where the former lovebirds must work through their problems, which have physically manifested into platforming challenges. The game takes full advantage of its magical realist premise to playfully transform domestic squabbles into clever video game tropes. That broken vacuum Cody was too lazy to fix? It’s become a Bowser-sized boss. The pesky wasp’s nest in the backyard? The pint-sized couple has no choice but to go to war with them in a mini third-person shooter.

The game’s most direct comparison isn’t another platformer, but Pixar’s Inside Out . Both feature the same brand of illustrative storytelling that uses cartoony set pieces to underscore real experiences. Like a great Pixar movie, It Takes Two boasts memorable characters, moving emotional beats, and the occasional comedic wink that parents will pray their kids didn’t understand.

The game takes full advantage of its magical realist premise to playfully transform domestic squabbles into clever video game tropes.

The story can get narratively scattershot at times. There are a lot of rapid-fire gameplay ideas happening at every level that don’t always sync up to a relationship parallel. Plot threads seem to come out of left field to justify moving the game to a snow-themed level or an elaborate musical set-piece. Fortunately, every new mechanic is so pleasurable that it hardly matters how effective the game is as a therapy session.

Despite the cinematic comparisons, the game works as well as it does because of its interactivity. Lots of romance stories tell audiences how important teamwork is, but It Takes Two puts physicality to those life lessons. The game can only be played with another human partner, so it requires actual unity to complete. Players learn to communicate and build their trust in one another alongside May and Cody.

It’s a high-concept idea that is delivered with finesse. As a platformer, the running and jumping feels as good as a Mario game. The puzzles are rarely challenging, but the solutions are ingenious enough to inspire satisfying eureka moments. The levels themselves offer a constant barrage of fun ideas that never overstay their welcome. As soon as players could find themselves bored with a traditional platforming puzzle, it swaps over to a mini-dungeon crawler that’s completely different and just as enjoyable.

What’s most impressive is how much thought has gone into creating a co-op game that actually cares about both players. May and Cody get completely different tools to play with in each level. In the opening chapter, Cody gets a set of nails that can be shot into wooden walls while May gets a hammerhead that she can use to swing on those nails. The mechanics and utility of each item are completely different and give each player their own unique experience. There’s never a point where it feels like player one got the “cool” item and their partner is a sidekick.

What’s most impressive is how much thought has gone into creating a co-op game that actually cares about both players.

That’s something that many co-op games really struggle with. Nintendo infamously neglects player two by either making them a mechanical clone of the protagonist or a helper with limited functionality. It Takes Two is fully designed with both sides of the split screen in mind and it always makes sure to alternate who gets their big hero moment.

That’s another thing that the game gets right about relationships. Both Cody and May are equally important to the dynamic. Players need to collaborate to bring the characters together, but they are never left standing around while their partner has all the fun. The give and take is never at one person’s expense.

Before the game’s release, EA held a Q&A with director Josef Fares. He had one choice phrase he repeated multiple times when asked about his approach to game design: “No shiny shit.”

Fares went on one of his signature rants against the concept of “replayability” and emphasized that It Takes Two didn’t feature hollow collectibles. Instead, his aim was to make an interactive world that was fun to explore without arbitrary hooks.

There’s a sense that Fares is just having a blast designing every little interaction.

That philosophy is evident throughout the game’s nine distinct levels. When players find themselves high up in a tree, they can stop to toss a stray paper airplane. There’s no real incentive to do it; it’s just for the love of the game. That’s a breath of fresh air in the era of the open-world “map game” where players are given a repetitive checklist of tasks to complete.

The closest thing the game has to “collectibles” are minigames scattered throughout every level. These are simple competitive challenges like tug of war or snail racing that give players a light break from the story. While they aren’t complex side-quests, they offer a good excuse to break up the pace and let partners blow off any potential frustration that’s brewed between tricky co-op miscues.

There’s a sense that Fares is just having a blast designing every little interaction. The director is notably in love with his own games and that attitude is infectious. While his previous works can feel a little too self-serious, It Takes Two is a fuller representation of both his colorful personality and the immense skill level over at Hazelight. He jokes (probably) that he’ll give anyone who doesn’t love the game $1,000. As much as I’d love the money, I’m certainly not going to ask him to pay up. He wins this bet.

It Takes Two is Hazelight and Josef Fares’ most fully realized vision of co-op gaming yet. It uses clever interactivity to highlight the importance of good communication in video games and relationships alike. With Nintendo-quality level design and a charming story to motivate its platforming action, It’s the rare multiplayer game that will strengthen friendships rather than end them.

Is there a better alternative?

No. It Takes Two is easily the best co-op game of its breed since Portal 2 .

How long will it last?

The adventure clocks in at a surprisingly lengthy 10-12 hours. May and Cody get completely different abilities each level too, which makes a second playthrough feel very enticing.

Should I buy it?

Yes. It’s a joyous time from start to finish and it comes with a Friend Pass, which gives one of your pals a copy of the game. It’s a two-for-one deal that makes sure you’ll have someone to play with.

Editors’ Recommendations

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• Game Reviews

Unions 1 through 30 just weren't enough.

Last year, Sledgehammer and Visceral Games veteran Michael Condrey founded a new studio at 2K Games. That studio now has a name, 31st Union, and it will develop an original game rather than assist with current franchises.

Don't Nod decided to delay its narrative adventure game Lost Records: Bloom & Rage to early 2025 in the wake of Life is Strange: Double Exposure's announcement and imminent launch this October.

For those out of the loop, Don't Nod created the Life is Strange series with Square Enix. Although Don't Nod moved on from the series after Life is Strange 2, neither party involved stopped making narrative adventure games. Don't Nod went on to make Tell Me Why in 2020, and some Life is Strange alumni formed a new Don't Nod studio in Montreal that same year to create the Lost Records franchise.

After Diablo 3 fumbled the bag, we needed a new ARPG to fill the void Diablo 2 left in our souls. Path of Exile answered that call and then some. It didn't just give fans what Blizzard failed to deliver but kept on supporting and adding to the game for close to a decade. Path of Exile 2 wasn't even supposed to be a sequel at first, but when the scope became so large that it couldn't fit as an expansion, it was spun off into a full release.

Path of Exile 2 hasn't forgotten what made the first game so much fun, and a large part of that was adventuring and fighting with friends online. The new addition of couch co-op is awesome, but what about players who need to team up online? The first game slowly rolled out to all platforms, but the sequel is hitting both consoles and PC at once, so you need to be up to date on if it has cross-platform support. Does Path of Exile 2 have cross-platform support? Fear not, Exiles, because Path of Exile 2 will feature complete crossplay support. No matter if you are on PlayStation with a friend on Xbox and another on PC, or any other combination, you will all be able to dive into the demented world of Path of Exile 2 together to grind levels and loot to your heart's desire. It goes without saying, but obviously you can only play local co-op on the same platform since it requires both players to be on the same system.

IT TAKES TWO

(Ro, L, A) Romantic worldview of two identical girls able to bring together their respective "parents" romantically despite several obstacles; 1 obscenity, 1 vulgarity & 2 profanities; alcohol use implied; and, no sex, no nudity & no violence

More Detail:

IT TAKES TWO tells the story of identical girls living at extremes: one is rich; the other is an orphan. Starring the Olsen twins, the movie weaves an idealistic tale where a child’s fantasy of picking their parents comes true. Amanda Lemon is an orphan. Her case worker, Diane Barrows, would like to adopt Amanda but the “system” says no. The children’s home is spending a week at a camp founded by Roger Callaway’s deceased wife. Roger is engaged to Claris, a woman he doesn’t love, and has a daughter identical to Amanda named Alyssa. Together, the Amanda and Alyssa execute plans to stop Roger from marrying Claris and instead marry Diane.

The movie is a cute fantasy where identical young girls of diverse means are able to switch places and fix their family woes. (In that sense it is a modern PRINCE AND THE PAUPER.) The tale is fairly clean allowing children to see this without the worry of parents. There is no violence, sex or harsh language. However, the movie is pure fantasy taking leaps of believability. The Olsen twins, fresh from FULL HOUSE fame, eager to strut their comedic twin-power, carry off a delightful movie. Despite a fantasy storyline, the movie IT TAKES TWO is a sweet, innocent film of two girls looking for a family.

It Takes Two

Reviewed by: Brett Willis CONTRIBUTOR

W hen the remake of “ The Parent Trap ” came out, I wondered why the producers didn’t use the Olsen twins and save on the special-effects budget. Aside from contractural issues, the probable reason is that the Olsens had already done “It Takes Two” (also known as “Me and My Shadow”), which is a cross between “The Parent Trap” and “The Prince and the Pauper”.

Amanda Lemmon ( Mary-Kate Olsen ) is a tough, streetwise orphan. She and her friends keep getting passed over for adoption, because most couples want only babies. One family is interested in her, but only because they “collect” kids and put them to work in a junkyard. Social worker Diane Barrows ( Kirstie Alley ) would like to adopt Amanda herself, but can’t because she’s single and doesn’t have a large enough income.

Alyssa Callaway (Ashley Olsen) lives a privileged life with her father Roger (Steve Guttenberg), who is filthy rich. Her mother is deceased, and Roger is planning to marry Clarice Kensington (Jane Sibbett) so Alyssa can have a mother again. He’s blind to the fact that Clarice is a child-hating, gold-digging vixen. Any doubts about her villain status are cleared up at the outset, when we and Alyssa hear her make cruel remarks about Alyssa’s mother.

No, the Olsens’ characters don’t turn out to be long-lost twins. They’re just unrelated lookalikes.

Diane packs off, and accompanies, her orphan brood to a summer camp that was created by Alyssa’s mother. And the Callaways visit their own summer mansion, just across the lake from the camp. Amanda and Alyssa meet, and each wants to find out how the other half lives. If you know movies well, the rest of the story should be clear in outline and uncertain only in detail.

The production values are high, the casting is appropriate, and most everyone turns in a good performance. A few of the young actors playing the orphans underact their parts, exhibiting some degree of camera-shyness. Sibbett deliberately overacts her part, so even the youngest viewers will have no doubt how they’re supposed to react to her.

Content Warnings: Mild language. Amanda and Alyssa have to use drastic measures (make that “dirty tricks”) to get rid of Clarice, but their actions are warranted under the circumstances. The objectionable behavior of the negative characters is clearly portrayed negatively.

The only positive image I object to is the portrayal of “romantic love” (love at first sight) as an ideal. When Alley’s character in “ Look Who’s Talking ” spouted a line about how you can’t control who you fall in love with, her mother explained that love is a choice. Here, several characters verbalize the idea of getting zapped with “hit one over the fence” type romantic love, and no one is available to correct the notion.

Something in our collective consciousness identifies strongly with films of this type, because they keep getting produced and consumed. We all wish for the perfect family for ourselves, and for the film characters we identify with. None of us actually belongs to a perfect family on Earth. But the Psalmist says:

“When my father and my mother forsake me, then the LORD will take me up” ( Psalm 27:10 ).

PLEASE share your observations and insights to be posted here.

Movies | ‘A Quiet Place: Day One’ review: Lupita Nyong’o…

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Movies | ‘a quiet place: day one’ review: lupita nyong’o can’t save the world, but she saves the movie.

In Jordan Peele’s “Us,” a supernatural thriller with somewhat more on its mind than this one, Nyong’o gave the greatest recent performance not nominated for an Academy Award. In “Quiet Place 3” she’s excellent as well, as terminal cancer patient Samira, who has the bad luck to visit Manhattan with her cat, Frodo, on the very day the out-of-towners arrive, blind, mean, fast and blessed with excellent auditory genetics.

Each minute she’s on screen, which is most of the hour and a half, Nyong’o is alert and invested in every fiber of her character’s constant predicaments. The cat, too, I guess. Frodo’s the name, played by two lookalike felines named Nico and Schnitzel. Does Frodo survive? Sorry, that’s a spoiler. (Yes.) Does the cat have a leading role? It does.

Does the movie operate on the same blend of solemn regard for rugged individualists and shameless regard for jump scares? Of course. Does Frodo know how and when to remain completely meow-free (which is all the time ) in order to prevent the spindly, speedy Death Angels from taking another life? A final yes. The cat keeps mum always, unlike my favorite bit player in “Quiet Place 3” who, early on, literally screams “We’re all gonna die!” and then does.

In the earlier “Quiet Places,” we followed the frontier family, the Abbotts, in upstate New York as they outwitted the visitors with their cunning and family values. This prequel, written and directed by Michael Sarnoski (“Pig”), re-centers things on Nyong’o’s character, who joins her fellow hospice patients on a field trip to a marionette theater in NYC’s Chinatown. She’s only interested in a side trip to Harlem, for one last slice of her favorite pizza before she dies.

The pizza joint holds personal meaning for her. As Samira, Frodo and a stray fellow invasion survivor join forces — law student Eric is played by Joseph Quinn of “Stranger Things” — “Day One” takes some time out for gentle if contrived comic relief, and some emotional catharsis to counterbalance all the kills. The cute stuff goes a bit far in the scene of Eric suddenly turning into a mute clown-show MC, introducing Samira the poet on an empty stage up in Harlem. This feels like an outtake from “IF,” another fantasy created by John Krasinski, who receives a story credit on “Day One.” It’s the one bit that got me rooting for the aliens.

Other than that, the movie follows a clear directive reasonably well. It is nothing but peril and exhaustion and superhuman resourcefulness in the face of two species not destined to get along. The Death Angels can’t swim, at least not without dying in seconds, and the plot requires Samira to deliver Eric and Frodo to safety aboard a ferry loaded with fraught survivors. Djimon Hounsou, a carryover from the second “Quiet Place” film, appears here in a supporting role. But at heart this is a two-person, one-cat affair.

That phrase “a quiet place” never really captured what these films are up to, nerve-shred-wise: They should be called “A Sudden Loud Noises Place,” or “21 Jump Scares.” But there are some fine, fleeting images, of the Death Angels descending a skyscraper from the POV of a human on the sidewalk below, for example. The movie’s visual imagination is pretty modest, aside from a few of these digital/practical flashes.

I do wonder about the general messaging of this franchise, and a lot of movies in the same vein. Is “Quiet Place: Day One” selling the idea that catastrophe too big for politics, or America’s actual crises, is the only way we can begin to get along? After the carnage? The films’ creators have deflected the notion that the earlier “Quiet Place” films have had even a toe in real life. But undeniably, the new film takes a big, blunt and queasy-making cue from Sept. 11. Samira’s experience of the initial intergalactic terror attack leaves her dazed, and caked in white ash and concrete dust. This imagery plainly echoes the unnerving and indelible photograph of World Trade Towers worker Marcy Borders.

Inspired, or shameless? Your call. My call is shameless, but Nyong’o cuts through that, the whole way. She plays the material for the highest possible stakes, mostly nonverbally — though the one moment Samira lets loose with a soul-clearing scream, a good-enough-for-this-summer prequel suddenly feels like it really, truly matters.

“A Quiet Place: Day One” — 2.5 stars (out of 4)

MPA rating: PG-13 (for terror and violent content/bloody images)

Running time: 1:39

How to watch: Premieres in theaters June 27

Michael Phillips is a Tribune critic.

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Bella Hadid Wears the Naked Dress to End All Naked Dresses

By Hannah Jackson

Anthony Vaccarello finally figured out how to reproduce his collection of ultra-sheer pantyhose dresses. Bella Hadid hit Cannes in look seven from the Saint Laurent fall 2024 show: a halter dress featuring 10 denier hosiery cups, a knotted pantyhose bodice, and a below-the-knee skirt with a control top hemline.

Hadid, styled by Molly Dickson, leaned into the Old Hollywood glamour that has become synonymous with the Cannes Film Festival, adding a pair of mahogany peep-toe ankle strap heels and an enormous pair of drop earrings from Chopard.

This look fits into Hadid’s latest sartorial M.O. of sheer earthy tones that can only be described as “sexy nymph.” While promoting her fragrance, Orebella, in New York, the model wore a diaphanous nude Dior slip dress by John Galliano, as well as a cream-colored Rokh dress with a lace bodice. And yesterday in Cannes, she further explored brown tones in a simple tank dress . But this look—with only some extremely well-placed seams preserving her modesty—is by far her boldest to date.

When asked about how he would manufacture these ephemeral pieces from the collection, Vaccarello told Vogue, “Don’t even ask me about production—I can’t tell you.” This being the first instance the delicate outfits have been spotted on the red carpet speaks to Hadid’s risk-taking style. Even if she is the only person who ever wears one of these sheer Saint Laurent looks out in the world (let’s see if she can make it to the end of the night without any snags) the fact that Vaccarello was readily willing to make one for her speaks to Hadid’s immense power in the fashion industry.

And if this is Hadid’s wardrobe for her first official day of events in Cannes? We can only imagine what’s to come.

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Angelina Jolie Will Wear This Pair of Shoes Anywhere—Even a Shopping Run

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Screen Rant

Daddio review: sean penn & dakota johnson get surprisingly intimate in the longest taxi ride ever.

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10 Best Romance Movies Of 2024

The vourdalak review: this french feature debut bites back at the mundanity of modern vampire movies, a family affair cast & character guide.

• Dive into the unexpected connection between Girlie and Clark in the confined setting of a taxi cab.
• Dakota Johnson and Sean Penn's stellar performances infuse life into Daddio 's seemingly static premise.
• The film nicely explores the dynamic and compelling nature of the relationship between Girlie and Clark.

As a New Yorker, I'm well-acquainted with long taxi rides across the city. I prefer to take these trips in silence, looking out the window at the passing buildings and bright lights while consumed with my own thoughts. However, Daddio makes a strong case for abandoning this solitary approach and opening oneself up to a unique connection, even if the dynamic that unfolds within it occasionally strays into something more complicated and uncomfortable.

The premise of writer-director Christy Hall's movie is simple: A woman strikes up a conversation with her taxi driver on her way home from the airport. That's a succinct summary of what happens during Daddio 's runtime, but it doesn't quite cover the full breadth of how these two characters connect and what topics they cover . The sparse set-up — the whole movie essentially takes place within the confines of the car — might put off some viewers looking for a less stationary tale, but as a character study, Daddio hits all the right beats.

Daddio's Characters Are More Than They Seem

They break the bounds of their archetypes.

Known only as Girlie ( Dakota Johnson ), the woman gets a cab from JFK and settles in for the long ride to Midtown. It's clear right away that she has something on her mind. Her eyes keep drifting to her phone, which she picks up intermittently to find increasingly provocative texts from someone known only as "L". Girlie's driver, the worldly and outspoken Clark ( Sean Penn ), starts talking to her and, rather than brushing him off with dismissive answers, she plays along.

Their relationship is hard to define, swinging between platonic and possibly romantic, but that only makes Daddio a more compelling watch.

With their conversation at times bordering on flirting, Girlie and Clark start out on simple ground by discussing people's reliance on their cell phones before evolving into something much more personal. Spurred by the fact that they won't ever see each other again after the ride is over, they gradually reveal bits of themselves to each other — Clark's been married a few times, Girlie's mysterious "L" is actually her married lover — to the point where nothing seems to be off limits.

On some level, Daddio feels unrealistic. Girlie and Clark's relationship goes from distant to surprisingly intimate in what is really very little time. Coming at this as a woman, I was surprised that Girlie wasn't more put-off by Clark's forward and occasionally raunchy questioning. I soon came to realize that it's a key part of this character Hall has created; neither Girlie nor Clark are the archetypes they seem to be , and the former's life experiences have made her the perfect companion for the latter. Their relationship is hard to define, swinging between platonic and possibly romantic, but that only makes Daddio a more compelling watch.

Throughout the year, some fantastic romance films have been released that push the boundaries of other genres & appeal to all kinds of audiences.

Dakota Johnson & Sean Penn Breathe Life Into Daddio's Static Premise

A movie like this wouldn't work without strong performers, and Johnson and Penn make for an intriguing onscreen pair . With very little space to move, both actors must convey their characters through small gestures and glances. Girlie is clearly carrying a lot on her shoulders, and Johnson reveals so much through the way she sighs at the latest text from "L" or how she smirks at Clark's questioning. Penn exudes surprising warmth and sweetness in his performance, adding layers to a character who could come off as creepy.

Johnson and Penn's chemistry makes it easy to invest in the conversation their characters are having. Clark is frank in his opinions about love and his assessment of Girlie's affair, and it leads to some fascinating debates between them. Daddio 's single location and dialogue-heavy movie approach occasionally make it feel static, particularly when the cab is stuck in traffic for long stretches. Luckily, Johnson and Penn's compelling dynamic keeps us hanging on, right up until the moment they part. That final beat could've been shorter to make more of an impact, but that doesn't lessen the satisfaction of the journey overall.

Daddio releases in theaters on Friday, June 28. It is 99 minutes long and rated R for language throughout, sexual material, and brief graphic nudity.

As the sharp, astute Girlie and the complex Clark navigate the very human connection between passenger and driver in the world’s biggest city, they locate a common ground that helps each of them see the other’s point of view — bringing them both closer to figuring out themselves.

• Dakota Johnson and Sean Penn deliver strong performances
• The relationship between Girlie and Clark is dynamic and compelling
• The one location setting can become static

'A Quiet Place: Day One' Review: Lupita Nyong'o & Joseph Quinn Elevate Horror Prequel

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The Big Picture

• A Quiet Place: Day One expands the franchise's universe, focusing on a more ambitious character-driven story rather than the first two films' family drama.
• The film centers on Sam's journey to fulfill her last wish, highlighting the importance of living life to the fullest despite terminal illness.
• Outstanding performances by Lupita Nyong'o and Joseph Quinn drive the film, making it a strong contender in the action, alien, and survival subgenres.

Who would’ve known that John Krasinski ’s announcement to the world that he could do more than smirk at a camera and yearn for his co-worker would give rise to one of the hottest horror franchises of this century ? 2018’s A Quiet Place is an exhilarating creature feature , a compelling family drama, and a star vehicle for both Krasinski and his equally excellent co-star (and wife) Emily Blunt . It did well enough at the box office to warrant a sequel, with Krasinski returning to the director’s chair. A Quiet Place Part II ended up being one of the first box office smashes in a post-COVID world and did a great job of expanding the lore of this alien-ridden, apocalyptic universe.

Now, that’s all great, but you wouldn’t be blamed if you rolled your eyes when you heard they were making a prequel to the first two films, without any of the characters we’ve come to root for. And worst of all… it has a colon in its title! Well, I’m here to tell you that you can put your eyeballs back straight because A Quiet Place: Day One justifies its existence as a touching character-driven action film . It opens up the scope of the universe, seeing the hearing-gifted aliens take on New York City. This time, we don’t have Krasinski and Co’s experience and techniques to evade the monsters. It’s day one, after all, and the world is just getting acquainted with these deadly extraterrestrials. Led by brilliant performances all around with a simple but effective story, A Quiet Place: Day One may not be the most horrifying alien film, but it stands apart from its predecessors while staying true to why so many people love this franchise.

A Quiet Place: Day One

What is 'a quiet place: day one' about.

The movie follows Sam ( Lupita Nyong’o ), a sardonic and weary poet who has terminal cancer. She spends her days writing simple poems about how shit life is and reading them to her support group in her hospice. Her only two friends are Reueben ( Alex Wolff ), a devoted and supportive nurse, and her cat, Frodo. The group is brought to Manhattan for a puppet show, and Sam is promised they can go for pizza afterward. As they hastily reboard the bus halfway through the show amidst reports of an incident in the city, our hearing-advanced friends make themselves known. From here, it’s non-stop chaos as the aliens attack one of the busiest cities in the entire world – with all the noise to go with it.

The story isn’t so much about survival but making the most of the precious time you have left. Sam is hellbent on making it to Harlem to go to the pizza restaurant that holds a lot of meaning to her from her childhood. Along the way, she meets Eric ( Joseph Quinn ), a law student who feels utterly alone in New York City as his family is back in England . With no purpose and no one to turn to, he latches on to Sam (and Frodo) and helps her on her quest to find her way back home before it’s too late. Along the way, they have to contend with vicious aliens, a roaming cat, Sam’s illness, and more vicious aliens.

'A Quiet Place: Day One' Is More About Character Than Action

You might think that, on the surface, A Quiet Place: Day One is simply retreading old ground, but it sets out to do something different than the first two movies . 2018’s A Quiet Place was, yes, a horror creature feature, but it was mostly a family drama. It touches on responsibility, guilt (especially survivors), and sacrifice. Evelyn and Lee made the decision to bring children into the world and so they must risk their lives every second of every day to keep their kids safe. The second film opened up the family’s strife to the entire world, as people come together to try and maybe save it. Day One is simply one woman’s story of trying to find her way back to one of her favorite places before it’s too late. Right from the outset, it’s clear Sam has lost all interest in living, her mind succumbing to her illness before her body. Before the alien invasion, she didn’t appreciate anyone or anything around her. That all changes the second the aliens hit the ground. It’s a refreshing twist on the survival film and allows Sam to become much more interesting than any monster. Rather than fighting to protect one’s family or kids, Sam is fighting for herself and for her right to live out her last few days on Earth the way she wants.

'A Quiet Place: Day One': Release Date, Plot, Cast, and Everything We Know So Far

It's finally time to find out how the world fell into hair-raising silence.

While Nyongo’s Sam is a wonderful protagonist, the film really picks up at the introduction of Quinn’s Eric. This is mostly because there’s a fresh twist in their dynamics. Sam is the calm, collected, and wise hero who knows exactly what to do at every second. Eric can barely kick down a door and needs constant reassurance from Sam that they’re going to be okay. A Quiet Place: Day One becomes more of a character study than an out-and-out alien movie, and because the characters are so enthralling (as well as played to perfection), you don’t really mind that the trailers had you think this was “ Alien takes Manhattan” when it's actually more a complex human drama .

In terms of actual scares and tension, Day One comes last in the franchise. Perhaps the first movie had the advantage of playing around with a new idea, but the whole “don’t make a sound” trope has become a little tired. While there’s a palpable sense of urgency from the performances (especially Quinn who is looking more terrified than any man ever has in a movie), the devastating horror of seeing little Beau Abbott get absolutely demolished is just not here. An exciting prospect of A Quiet Place being brought to the bright lights of the Big Apple was to see the alien attacks on a much bigger scale. But the movie doesn’t make the most of its setting . When New York has been destroyed by Godzilla , frozen over in The Day After Tomorrow , and had her head chopped off in Cloverfield , the bar for monsters invading NYC is skyscraper high. Day One could be set in any major U.S. city and it would probably look the same. It’s still an entertaining good time but other monsters (and weather) have done it better.

Joseph Quinn and Lupita Nyong’o Give Excellent Performances in 'A Quiet Place: Day One'

Without a shadow of a doubt, the film’s greatest asset is its cast. Lupita Nyong’o manages to never get lost in the chaos around her, always reminding the audience that this is Sam’s story — not the world, not the aliens, but hers. She’s able to mix her hardened weariness with a genuine zest for what life has left for her, making her quest to fulfill her one last dream as tense as the end of the world. Joseph Quinn stole the internet’s heart two years ago and that tender vulnerability that made Eddie Munson an overnight sensation is on full display here. It’s rare to see the male lead in an action film display so much fear and sensitivity. Through Eric, we see an honest portrait of how fragile the human spirit is and how much we need connection in times of unimaginable horror. Together, Nyong’o and Quinn are the match made in platonic heaven, and it’s their unlikely kinship that ultimately drives the film home to its bittersweet ending. Alex Wolff also brings a ton of charisma and heart in the limited screentime he has, with Djimon Hounsou in an even more limited but welcome return to his role from Part II .

A Quiet Place: Day One has way more to say about humanity than the trailer would have you think . As we’ve seen humans fight to survive any situation possible, Day One manages to stand out in both its subgenre and its franchise by taking a different approach to man vs. monster. While it may not be the best horror movie or even action flick, its brilliant characterization, simple but effective script, and outstanding performances make it a strong contender in the action/alien/survival subgenres.

A Quiet Place: Day One is a compelling character-driven spectacle that walks its own path in the franchise.

• A Quiet Place: Day One gives us complex and vivid characters to root for.
• Lupita Nyong'o and Joseph Quinn give exceptional performances and play off each other's platonic chemistry.
• The film is a complex human drama that offers much more than the trailers would have you think.
• The horror and tension of the first two films are more muted and the threat of the aliens becomes less exciting.
• The movie doesn't make full use of its New York setting, with many other monster movies having done it better.

A Quiet Place: Day One comes to theaters in the U.S. starting June 28. Click below for showtimes near you.

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Metacritic reviews

It takes two.

• 70 Los Angeles Times Kevin Thomas Los Angeles Times Kevin Thomas Writer Deborah Dean Davis and director Andy Tennant are fully aware of the absolute predictability of their material and therefore make the getting to an inevitable ending as much fun as possible.
• 60 Variety Leonard Klady Variety Leonard Klady Quite simply, It Takes Two is just too cute for words.
• 58 Entertainment Weekly Bruce Fretts Entertainment Weekly Bruce Fretts It seems only fitting that the flavorless Guttenberg would land in this smooth tapioca concoction, but Alley deserves better.
• 50 Chicago Sun-Times Roger Ebert Chicago Sun-Times Roger Ebert The movie is harmless and fitfully amusing.
• 50 San Francisco Chronicle Edward Guthmann San Francisco Chronicle Edward Guthmann The Olsens' precociousness and sitcom-style mugging grate at first, but I found myself warming to their movie in its last half - thanks mostly to Alley, a crackerjack physical comic who's incapable of a flat or colorless note.
• 50 San Francisco Examiner Barbara Shulgasser San Francisco Examiner Barbara Shulgasser The adorable overacting of the twins [Mary-Kate and Ashley Olsen] make this otherwise dopey movie watchable.
• 50 The Globe and Mail (Toronto) Liam Lacey The Globe and Mail (Toronto) Liam Lacey The movie is a competent formula kid flick stuffed to the dimples with movie deja vu, a sop to those Hollywood-bashing politicians who want old-fashioned family values on their celluloid. [17 Nov 1995]
• 50 TV Guide Magazine TV Guide Magazine This modern-day hybrid of "The Prince and the Pauper" and "The Parent Trap" is a slickly contrived showcase for the professionally cute Olsen Twins, late of TV's Full House.
• 40 Empire Empire Staggeringly laboured though this premise may be, it also has the potential for some lightweight farce to pass the time.
• 30 The New York Times Stephen Holden The New York Times Stephen Holden Under the direction of Andy Tennant, the Olsen sisters lay on the icky-poo cuteness with several trowels, often delivering their lines as though they were reciting the alphabet.
• See all 12 reviews on Metacritic.com
• See all external reviews for It Takes Two

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Stream It Or Skip It: ‘Two Scoops of Italy’ on the Hallmark Channel, About An American Girl, An Italian Guy, And The Gelato That Brings Them Together

Where to stream:.

• Two Scoops Of Italy

• Hallmark Channel

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Two Scoops of Italy is part of the Hallmark Channel’s “Passport to Love” movie series of romances shot on location in Europe. This installment is about an American chef seeking professional inspiration in Italy, but she ends up falling for a local gelato-maker while she’s there. The film features beautiful scenery, delicious-looking food, and a winning cast which make it a worthwhile watch this weekend.

TWO SCOOPS OF ITALY : STREAM IT OR SKIP IT?

Opening Shot: Chef Danielle Turner (Hunter King, sister of Joey King, in case you think she looks vaguely familiar)) meticulously plates a series of fancy dishes that would make the Top Chef judges swoon. She’s in her test kitchen trying to create a new menu for her restaurant’s investor, Owen (Davy Eduard King), to approve.

The Gist: Danielle’s restaurant has been closed while she re-tools the menu which hasn’t bee very exciting lately. Her investor, Owen, is supportive but she relies on his cash to keep the place open, and he’ thinks she needs some time to find a spark of ingenuity for he’s not impressed with her menu, so she heads to the small town of Ostia Antica in Italy to find culinary inspiration.

Giancarlo (Michele Rosiello) works in his family’s successful café and gelato shop in Ostia Antica, but he’s tired of the routine; he’s brimming with ideas for new and innovative gelato flavors but his father isn’t a fan of change. When Danielle comes into the café asking for directions, she tries his gelato and offers some constructive criticism that Giancarlo doesn’t appreciate, making a shaky first impression. Of course these two are going to run into one another constantly from then on, and each time, but in this film, they warm to each other sooner rather than later.

Soon enough, they’re popping around the Italian countryside on Giancarlo’s Vespa going on food adventures; he wants Danielle’s help to develop new gelato flavors his father will approve of, she wants to eat all the things and be inspired, it’s a win win. After lots of trial and error (and having a blast while sourcing ingredients and tasting their experimental flavors), they land on a hazelnut gelato flavor that even the town’s pickiest critic, a nine-year-old named Nico, loves, and it becomes a hit.

While that’s great news for Giancarlo, Danielle is struggling to figure out a new menu and direction for her restaurant. Owen calls her while she’s in Italy and tells her he needs to make a decision on whether to make another investment in her in the next two days, and Danielle panics. (This is the film’s big dramatic turn – usually these films feature some kind of temporary lovers’ rift, but here, it’s a “man vs. self” struggle.) After a few deep breaths, she finds inspiration in a book that her Italian host Elida (Sara Mondello) suggested to her, a romance about a woman who finds love and inspiration in the very town she’s staying in, Ostia Antica.

With her cooking mojo back, Danielle not only impresses Owen, but she returns to California with a new direction for her restaurant, and a new life-slash-business partner, Giancarlo.

What Shows Will It Remind You Of? This is the latest film in Hallmark’s Passport to Love series of films that have come out this month, and it’s sticking close to the same formula as all the others, which include A Greek Recipe for Romance and Savoring Paris : An American woman seeks inspiration/needs to get out of a career rut by visiting a foreign country, which results in an unexpected romance along the way.

Our Take: You can always tell when a Hallmark film is going to be above-average by the details. The less successful films are the ones with broader performances that seem like someone typed a prompt into ChatGPT. Fortunately, the worst part about Two Scoops of Italy is its title. The movie itself has two compelling leads that both feel like they were thoughtfully written (the detail that Danielle is from Hingham, MA seems so specific: who in the cast or crew is from the South Shore? Show yourselves!) and though the romance feels like a wanderlust-y fantasy, it’s also still believable. Also, ice cream-based romance is my favorite kind of romance.

The supporting cast also play a vital role in creating a charming, lived-in community for our lovers to inhabit. Danielle’s attempt at matchmaking her driver, Bruno, and her housemate, Elida, is a cute subplot, and there’s never too much tension, even between Giancarlo and his father Aldo, who is meant to come off as a little grumpy and set in his ways, but is also an obvious softie at heart. That contrived fight that usually affects our Hallmark couples about 3/4th of the way through most of these movies, the one that lasts exactly three minutes and is immediately resolved, is thankfully absent, and instead, our two leads just bring out the best in each other, resulting in a romance fantasy I think we’d all probably enjoy if we had the chance.

Parting Shot: Standing in the kitchen of her Santa Monica restaurant, Danielle and Giancarlo dig into a tray of freshly-made gelato. They clink spoons, take a bite, and kiss.

Sex and Skin: There is never any sex or skin in Hallmark movies, but I admit feelings of lust and impurity while watching gelato ooze out of a soft serve machine.

Performance Worth Watching: The film has several notably charming supporting characters, but especially Lorenzo Padalino, who plays a local Italian boy named Nico with a discerning palate. He tastes all of Giancarlo’s gelato creations and is ruthless in his honesty.

Memorable Dialogue: After telling Giancarlo that she figured out what her restaurant had been missing, she adds, “Now I know what’s missing from me –  you .”

Our Call: STREAM IT! The romance of Two Scoops of Italy is rounded out with a warm and well-developed supporting cast, tons of delicious-looking food, and a plot that stays grounded without being too contrived or corny.

Liz Kocan is a pop culture writer living in Massachusetts. Her biggest claim to fame is the time she won on the game show Chain Reaction .

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