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‘A Tree Fell in the Woods' Review: Josh Gad and Alexandra Daddario in an Uneven, Occasionally Insightful Relationship Dramedy

‘A Tree Fell in the Woods' Review: Josh Gad and Alexandra Daddario in an Uneven, Occasionally Insightful Relationship Dramedy

Yahoo12-06-2025
If pop culture is to be believed, nothing good has ever come from a couple dashing off to a cute little cabin in the woods. This year alone, the sly sci-fi Companion, Netflix's drab dramedy The Four Seasons and the twisted Sundance rom-com Oh, Hi! have each taken turns considering the many, many different ways a weekend getaway might pressure-test a relationship, until fault lines become chasms big enough to swallow entire lives whole.
Adding to that collection now is Nora Kirkpatrick's debut feature, A Tree Fell in the Woods, premiering at Tribeca. In the canon of vacation-set marriage exposés, it's mid-tier, entertaining in parts but neither profound nor original enough to blaze any new trails. But in its epiphany that our most complicated relationships are the ones we have with ourselves, it delivers an intriguing if incomplete snapshot of Millennial anxiety.
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The falling tree of the title turns out to be very literal: In the first act, best friends Debs (Alexandra Daddario) and Mitch (Josh Gad) are nearly flattened while exploring the forest around the home they've rented for their 'Christmas New Year's thingamajigy weekend.' Exhilarated by their near-death experience, they rush back to regale their spouses with the tale, only to spy through the window Josh (Daveed Diggs) and Melanie (Ashley Park) in flagrante delicto.
Mitch, dreading a future in which 'each one of us ends up depressed, angry, alone, masturbating on the couch,' prefers to say nothing. Debs, reluctantly, plays along through gritted teeth. Nevertheless, it's only a matter of time before a violent snowstorm traps the quartet inside, with nothing to do but wallow in their insecurities and trade furious invectives — well, that, and drown their sorrows in the ancient, mysterious, possibly slightly magical bottles of moonshine recovered from the basement, to mildly comic effect.
Kirkpatrick, whose credits include Prime Video's Daisy Jones & The Six, resists casting any of her four leads in roles as easy as victim or villain. As the couples separate to argue in private or individuals retreat to lick their wounds, the writer-director periodically cuts between them, so that their conversations or coping mechanisms become a single symphony of hurt and anger and misunderstanding. Sure, Melanie and Josh are in the wrong, and Mitch and Debs are right to be mad — but, the film makes clear, each has their part to play in everything that's gone wrong.
Which is not to say that the movie's understanding of all four is equally sharp, or equally sympathetic. Its most lucid and least likable portrayal is of Mitch, who feels taken advantage of by the women in his life (namely Melanie, but also Debs); Gad's exhaustingly showy performance adds to the sense that he's one of those stereotypical 'nice guys' who turns every act of kindness into a self-sacrificing spectacle.
On the flip side, Park delivers the film's most unexpectedly funny and oddly moving turn as a woman cracking under the dissatisfactions of a marriage built more around both parties' ideas of what they should want than what they actually do.
The script is less successful at dissecting Debs and Josh's relationship, favoring her indignation over his fury to the point that when he finally does open up about his anxieties late in the film, it feels like we're only now meeting him for the first time. Nor do Daddario and Diggs share the kind of chemistry that might let us understand what drew them together in the first place, though they do share a couple of eloquently written, tenderly acted exchanges in the back half.
But if A Tree Fell in the Woods is only fitfully persuasive in its excavations of the resentments that can build over a long-term relationship — and if the deployment of a vaguely magical potion to get there seems a tad too convenient — its shrewdest observation is that none of these grudges can be separated from the ones the characters hold against their own selves. No longer young but not quite middle-aged (the characters are in their 30s, though some of the actors are older), they find themselves suspended between fading promise and dull reality, between the futures they'd imagined and the ones they're settling into, between the people they hoped they might be and the ones they're actually becoming.
Debs, an author struggling to live up to the promise of her debut novel, is married to a photographer whose reputation outpaces his talent. Mitch is a successful banker who hates his job and the life it's bought him, with a wife who does not understand him. For all four, the idea that they might really be stuck with these lives is such a bitter pill to swallow that perhaps it's no wonder they're compelled to do something — anything — to put off the decades of disappointment and disillusionment they see looming before them.
At one point, Mitch even drunkenly floats the idea that the betrayal might turn out to be a blessing in disguise. 'We saw it,' he slurs, 'and it saved us from the rest of our lives.' Debs, understandably, isn't buying it. But sometimes, the only way out of a hellish weekend in the woods is through. And sometimes, the only way to cut to the truth is to knock down all the bullshit surrounding it first.
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Breaking Down the Unconventional Rom-Com Ending of Oh, Hi!
Breaking Down the Unconventional Rom-Com Ending of Oh, Hi!

Time​ Magazine

time6 minutes ago

  • Time​ Magazine

Breaking Down the Unconventional Rom-Com Ending of Oh, Hi!

Warning: This post contains spoilers for Oh, Hi! It's a not-so-typical love story. Boy meets girl, they go on a romantic getaway together, and have sex. But after sleeping together, Isaac (Logan Lerman) reveals to Iris (Molly Gordon) that he has no interest in pursuing a serious relationship. When Isaac tells Iris this, he's still restrained by his hands and feet (they decided to use some handcuffs they found in the closet of their holiday home). Instead of uncuffing him and ending their relationship, Iris decides to keep him tied up, choosing to turn the weekend into a last-ditch effort to make Isaac love her. In this sense, Oh, Hi! feels like a riff on Misery. But while most films would be quick to condemn Iris for her decision, Sophie Brooks' film isn't interested in having a villain, nor is it in casting judgment on its characters. This is a different kind of romantic comedy, clearly, but it's also a thoughtful interrogation on the idea of being 'crazy,' a word often hurled as an accusation towards women. Of course, Iris is wrong to leave Isaac restrained, but Isaac manipulated her by taking her on a romantic getaway and acting like a madly in love couple, only to suddenly retract and say he's not interested in anything serious. You might say it's enough to make someone go…crazy. Oh, Hi! is a romantic comedy about contemporary dating, but also the way expectations impact our decision-making. 'Expectation and want are the makeup of every story,' says Brooks, who co-wrote and directed Oh, Hi! 'Expectations are inherent to conflict, and inherent to relationships.' Having Isaac and Iris be misaligned in their expectations reflects modern dating. We've gotten into a system where having wants and needs can be considered too much, and everyone should play it cool and act like they don't care.' When working on the movie, her second feature, Brooks was inspired by Joachim Trier's 2021 film The Worst Person in the World to write a rom-com that had a twist of darkness, that stuck to the genre's conventions while making something authentic about the perils of modern dating. 'I really wanted to have this female character who was unashamed of her desire for a relationship. Often in film and our culture, a man wanting love is considered romantic, and a woman wanting love is considered desperate or embarrassing. I think that's really unfair,' says Brooks. 'I'm leaning into the trope of the crazy woman, so she goes too far, and the moral is that you should never convince someone to be with you. But having expectations of someone you're wanting to date feels like a very normal thing to want.' Trying to find a way to get out of accidentally kidnapping Isaac, Iris recruits her best friend, Max (Geraldine Viswanathan), who brings along her boyfriend, Kenny (John Reynolds). Max has a surprising solution: a Wiccan spell to clear his memory. Brooks took inspiration from her lifelong love of witches. 'For a long time in elementary school, I was convinced I was a witch and would develop powers during puberty, and I was devastated when that didn't happen,' says Brooks. Max and Iris gather the ingredients and create a soup for Isaac to drink, but since he's extremely untrusting of Iris, they have Kenny (John Reynolds), Max's boyfriend, give it to him instead. For the potion to work, Iris has to bless it by chanting over an outside fire in the nude. Max stands by her, also naked, and they sway back and forth and chant together. She does it in 'solidarity.' It's not just a sweet moment, but a pointed exploration of women being friends in cinema. 'Female friendship in movies can so often have a tinge of competitiveness or be the source of drama. There are so many frenemies,' says Brooks. 'To have this female friendship that is pure and supportive, and having Max be ride or die for Iris, felt really honest to me. It's what my relationship is like with my friends.' That night, Isaac has a bizarre dream. In it, he's on a date with Iris at a bar, where they have an open and vulnerable conversation, and a gateway into understanding more of who Isaac is, and his hesitations on being in a relationship. Later in the dream, he finds himself at the house they're vacationing in, and heads outside to see Iris singing 'Islands in the Stream'—a callback to the opening scene where they're singing it together. Things are going well, and they dance in each other's arms, but suddenly Iris says, 'I hate you,' and Isaac wakes up. 'They really were falling for each other,' says Brooks. 'Unfortunately, just because two people like each other doesn't mean they're gonna figure it out or make it work.' When they're dancing in the dream sequence, it's enough to make you think that if circumstances were different, these two may have had a real chance at romance. 'There are so many miscommunications in the movie, and they're never on the same page, but in this dream sequence, they're completely aligned. It felt like an opportunity to see into Isaac's psyche and show that he does like her, and perhaps love her, but something is limiting him.' When Isaac awakes, he puts into action his escape plan. He's still handcuffed to the bed, but he plays it cool, acting like he has no memory of the events. Iris buys it, and uncuffs him. It speaks to her blind optimism and utter belief in the power of love that she could pull off a magical spell to rid Isaac of his memory, potentially even allowing them to start over. Heading downstairs, Isaac suggests making pancakes, but the flour is in the car. Iris has a flash of concern on her face, but that dissipates almost instantly, and she gives Isaac the keys. She celebrates with Kenny and Max, but it's short-lived—Isaac races off in the car. It turns out that because of an open window, Isaac heard their plan to erase his memory. Terrified that he'll go to the police, Kenny and Max want to pursue him, but Iris believes she's doomed and ready to take responsibility, and she goes back to bed. 'I wanted Iris to have that initial hope. Of course, she's going to doubt the spell worked, but her nature is hopeful, and she likes this guy, so she believes it. She wants to believe that maybe there's a path forward for them still," says Brooks. "And part of that is sad, but sometimes that's what life is. Sometimes it's sad to want something for you that isn't quite right, or even good for you." Iris is woken by a call from the police—her car, the one Isaac stole to escape, was found in a crash with nobody inside. Panicked, Iris heads into the forest to try and find Isaac, eventually discovering him wounded, lying against a fallen tree. You may expect the pair to fight, but instead they have a vulnerable conversation and apologize for the mistakes they've both made. 'I just wish you were honest,' Iris tells him, before sincerely apologizing for what she's done. 'I think by the time Isaac's left and she's able to settle and get some sleep, she's able to take a moment. She's like 'Whoa, I'm not sure how I got here', and she does apologize for her actions, which I thought was really important,' says Brooks. 'I didn't want the movie to end with her thinking she'd done the right thing. She knows she's gotten out of hand and she's embarrassed. But I hope what's nice for the audience is that Isaac learns he didn't handle himself correctly. If he had been honest, they wouldn't be in this situation. When Iris says she wishes he were honest, there's a real truth there. It's an acknowledgement that yes, she did something completely unhinged, and also he got her there.' At the end of the film, Isaac is carted away in an ambulance, and he and Iris have officially, permanently broken up. Iris leaves him with a fond goodbye that references her love of Casablanca: 'We'll always have O high,' she says. It's a callback to a conversation they had in the first scene, where Iris jokes to Isaac about a broken sign that read 'O High Falls' instead of 'High Falls.' But it's all completely lost on Isaac, reaffirming that these two were never truly on the same page. 'It's an example of, 'Oh boy. I was chasing this man, and he is not at all ready for a relationship,' Brooks says. The final shot is a close-up of Iris, who is processing a myriad of emotions before settling on a smile. It's a combination of relief, sadness, and hope. 'There's relief that she's gotten out of this weekend, and he seems not to be going to the cops. Sadness that this connection she felt is over and isn't going anywhere. But there's also a slight smile and light to her eyes, and I think she knows she's going to be okay,' says Brooks. As for whether or not Isaac calls the cops, Brooks has an answer for that, too: 'He's happy this chapter is over, and he doesn't want a legal battle. When he's honest with himself, he can see how they got mixed up in this miscommunication. He does take personal responsibility for how he ended up in that spot. Maybe the spell worked a little, and the part that worked is that he isn't gonna go to the cops.'

Sex trafficking warrant served at L.A. home owned by alleged ‘TikTok Cult' pastor
Sex trafficking warrant served at L.A. home owned by alleged ‘TikTok Cult' pastor

Yahoo

time23 minutes ago

  • Yahoo

Sex trafficking warrant served at L.A. home owned by alleged ‘TikTok Cult' pastor

A large operation was seen unfolding in Tujunga on Friday morning when federal and local law enforcement served a search warrant for alleged sex trafficking at a home owned by a controversial pastor and subject of the Netflix docuseries 'Dancing for the Devil: The 7M TikTok Cult.' El Monte Police Department officials confirmed to KTLA that authorities served the search warrant around 6 a.m. at a home located at 7744 McGroarty St. In addition to sex trafficking, the warrant was also issued for allegations of tax evasion, mail fraud, money laundering and COVID-19 pandemic-related accusations, which were not specified by law enforcement. Sky5 was overhead around 6:45 a.m., when FBI personnel were seen investigating the large residence and speaking with people at the scene, including possible victims or witnesses. At least six people were seen detained with handcuffs, including an older woman who, unlike the other detainees on the ground, was sitting in a chair with her legs covered under a blanket. Another woman was seen sitting on an outdoor couch, wiping her eyes while clutching a child wrapped in a blanket on her lap. Police did not immediately say whether anyone was arrested during the service of this warrant. A property records search for the home listed six current owners, including Robert Shinn, who was the subject of Netflix's 'Dancing for the Devil: The 7M TikTok Cult.' A source involved in the series confirmed to KTLA that the property involved in this search warrant was the same property at the center of the series. The Los Angeles Times reported that Shinn, founder of and pastor for Shekinah Church, also founded a company called 7M Films in 2021 'to help social media stars and TikTok dancers find jobs in L.A.' The 2024 miniseries examines the story, lawsuits and abusive cult allegations surrounding the Shekinah Church and 7M Films. The media focus was largely brought forth by two different sets of sisters who worked with Shinn: influencers Melanie Wilking and Miranda Derrick (formerly Wilking), and Melanie and Priscylla Lee. A summary from a 2024 Time article described the series as revealing 'claims from multiple former 7M members about how Shinn abused and manipulated them and created a cult-like environment.' No sexual assault charges were brought against him. Although Shinn did not personally reply to the Netflix series, the L.A. Times noted that his company, 7M, replied through an Instagram post calling the docuseries a 'slanderous work of fiction, born from a failed extortion attempt.' The post concluded by saying, 'We will continue to pursue all legal remedies available to stop the spread of salacious lies and expect to be fully vindicated in court.' According to CNN, Shinn filed a defamation suit against several former church members, claiming they made 'false statements' referring to his organization as a cult, and that they launched a campaign to 'cancel' him. The defendants then joined a cross-complaint with other former church members, claiming Shinn, his wife and others of 'fraud, forced labor and human trafficking, as well as Robert of sexual battery.' In addition, the L.A. Times reported that this countersuit against Shinn alleges 'brainwashing, physical abuse, sexual abuse, emotional abuse, manipulation and exploitation.' The case was scheduled to go to trial on July 7 in Los Angeles, however, the defendants' attorney group has since confirmed to KTLA that the trial is now set to begin on October 27. 'Regarding the search warrant, we are gratified that the federal government is investigating Robert Shinn and look forward to our clients and his victims receiving the justice they deserve,' stated a partner with Brown Neri Smith & Khan, LLP. Authorities did not state any connections between Friday's search warrant operation and the docuseries controversy. Nidia Becerra, Alexis Lewis, Alberto Mendez and Jennifer Thang contributed to this report. Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed. Solve the daily Crossword

What is Boban Marjanovic's role in 'Happy Gilmore 2'? Explaining the NBA player's character in 2025 movie
What is Boban Marjanovic's role in 'Happy Gilmore 2'? Explaining the NBA player's character in 2025 movie

Yahoo

time32 minutes ago

  • Yahoo

What is Boban Marjanovic's role in 'Happy Gilmore 2'? Explaining the NBA player's character in 2025 movie

Boban Marjanovic became a fan-favorite NBA player thanks to his size, and the center has been able to turn that into a bit of a Hollywood career. Marjanovic has been in several movies and TV shows as an actor, most notably as Ernest in "John Wick: Chapter 3." He also joined Adam Sandler when Sandler made "Hustle," the Netflix basketball movie starring both Sandler and Juancho Hernangomez. "Happy Gilmore 2" features many celebrity cameos, but Marjanovic's presence on the screen is different than his counterparts. Here's a breakdown of Marjanovic's role in the latest Adam Sandler movie. 📲 Follow The Sporting News on WhatsApp What is Boban's role in 'Happy Gilmore 2?' Boban Marjanovic is set to play the new version of Mr. Larson in "Happy Gilmore 2." In the original "Happy Gilmore," Mr. Larson was a giant of a man who became one of Gilmore's biggest fans. He was a crucial part of the movie, which included Shooter McGavin hitting a golf ball off of his foot. Marjanovic, who stands at 7-4, appears as though he will play a new version of Mr. Larson, perhaps representing Mr. Larson's son. MORE: Breaking down Happy Gilmore's iconic "step-up" swing, including USGA legality When does Boban appear in 'Happy Gilmore 2?' It's unclear exactly when Marjanovic will first appear in the movie, but we can at least look to the original for an idea. In "Happy Gilmore," Mr. Larson appeared relatively early in the movie and kept reappearing throughout, until the very end. Therefore, it's possible that Marjanovic has just one scene in the movie, or it could be the case that he has cameos in several scenes over the course of the runtime. MORE: How to buy a replica of the 'Happy Gilmore' hockey stick putter Boban scene in 'Happy Gilmore 2' Ahead of the release of "Happy Gilmore 2," Marjanovic shared a picture of his scene in the movie, which shows him crushing something in his hand. Additionally, Marjanovic made the movie's trailer, as he is shown crushing a golf ball into dust. At the very least, Marjanovic will get to put his size to good use. MORE: 14 best quotes from "Happy Gilmore" Who plays Mr. Larson in 'Happy Gilmore 2?' Boban Marjanovic is expected to play the role of Mr. Larson in "Happy Gilmore 2." Even if Marjanovic doesn't play a character named Mr. Larson, his character will likely fill the void left by Richard Kiel, who passed away in 2014. Kiel played the original Mr. Larson and became a key figure in the first movie. What happened to Mr. Larson? The original Mr. Larson was played by Richard Kiel, as the veteran actor was a notable character in "Happy Gilmore." However, Kiel passed away in 2014 at the age of 74. Kiel became known for his portrayal of Jaws in two James Bond Movies, but his role as Mr. Larson may have a longer-lasting impact due to the movie's longevity.

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