Kevin James and Angel Studios got together to make a PG-rated romantic comedy that you could easily mistake for a Hallmark movie. Not that there’s anything wrong with that; there’s a reason Hallmark movies are so beloved. They are the comfort food of movies. We know where they are going and we like them not in spite of that but because of that. This is in that category.

James, who produced, co-wrote, and stars, plays a cuddly but shy 50-something 4th grade art teacher who goes to Rome to marry his fiancee, Heather (Julie Ann Emery of “Better Call Saul”). The church is ready, the guests are seated. He waits for her at the altar, only to learn that she has run away, leaving him a letter with a non-explanation explanation.

Since he can’t get a refund on the “two become one” honeymoon tourist package, he is stuck exploring the Eternal City with newlywed couples, riding a tandem bicycle with an empty back seat.

Two men from the honeymoon couples in the group befriend him. Julian (Kim Coates of “Sons of Anarchy”), is not exactly a newlywed. He has just married the same woman (Alyson Hannigan as Meghan) for the third time. He urges Matt to go out drinking and in PG language cheer himself up by getting together with another woman.

Jonathan Roumie (Jesus in “The Chosen”), has just married Donna (Julee Cerda), who was his therapist. The jokes in the film about whether that is appropriate or even legal are not funny. But they don’t really get in the way because Julian and Jonathan are just there like the devil and angel on the shoulders of characters in old Saturday morning cartoons, one to urge Matt to go wild, one to advise him to sit with his feelings. While Matt does not appreciate their advice, he does appreciate their interest and support.

What he appreciates more is Gia (a radiant Nicole Grimaudo), owner of a local cafe. For some reason, possibly because he is played by the movie’s producer, co-writer, and star and has James’ imperishable likability, Matt appeals to her. Even though he is sad and hurt and lost, she wants to help him. As I said, we know where this is going, but it’s where we want to see it go, thanks to a couple of great pleasures.

The first is the lovingly filmed and inexpressibly gorgeous Italian scenery, from the Spanish Steps to the Tuscan countryside. We even get a glimpse of the legendary annual horse-race in Siena. The second is the superb selection of needle drops and diagenetic music in the film, a delicious assortment of pop and classical, English and Italian. The movie begins with Ed Sheeren’s “Perfect” behind the opening montage, and Matt is such a fan he wears a Sheeren t-shirt. Matt loves music and when Gia asks him to pick something for them to listen to as they share a late-night pastry in her cafe, it is the one moment in the film where we see him utterly confident and at home. The jazz record he selects is just right.

The story developments are not as well chosen, and there’s pentimento indicating some last-minute re-cuts, perhaps the reason Hannigan is criminally underused, and the Neil/Donna relationship is so clumsily handled. This is a don’t think too hard, enjoy the scenery and wait for a happy ending movie. In other words, wait for screening at home.

Parents should know that this movie has some drinking, with characters getting tipsy, mild sexual references, and a scuffle with no injuries.

Family discussion: What didn’t Matt see in his relationship with Heather? What part of Italy would you like to visit?

If you like this, try: “Under the Tuscan Sun,’ “Made in Italy,” “Letters to Juliet” and Hallmark movies set in Italy like “Villa Amore” and “The Groomsmen: Last Dance”

I’m pleased to be a member of the Online Film Critics Association, which announced our awards today. Lots of love for Sinners, One Battle After Another, and Jessie Buckley, who are all shaping up to be happy on Oscar night.

Best Picture (Ranked Order)

One Battle After Another (Winner)

Sinners

Sentimental Value

It Was Just an Accident

The Secret Agent

Marty Supreme

Weapons

No Other Choice

Hamnet

Train Dreams

Best Animated Feature

KPop Demon Hunters

Best Director

Paul Thomas Anderson – One Battle After Another

Best Actor

Michael B. Jordan – Sinners

Best Actress

Jessie Buckley – Hamnet

Best Supporting Actor

Benicio Del Toro – One Battle After Another

Best Supporting Actress

Amy Madigan – Weapons

Best Ensemble & Casting

Sinners

Best Original Screenplay

Sinners

Best Adapted Screenplay

One Battle After Another

Best Editing

One Battle After Another

Best Cinematography

Sinners

Best Original Score

Sinners

Best Production Design

Sinners

Best Costume Design

Sinners

Best Makeup & Hairstyling

Frankenstein

Best Sound

Sinners

Best Visual Effects

Sinners

Best Choreography (Dance & Stunt)

Sinners

Best Debut Feature

Eva Victor – Sorry, Baby

Best Film Not in the English Language

Sentimental Value

Best Documentary

The Perfect Neighbor

Lifetime Achievement Awards

Colleen Atwood

Jack Nicholson

Steven Spielberg

Vittorio Storaro

Walter Murch

Special Achievement Awards

Green Film 

Film Workers for Palestine 

Best Non-U.S. Releases (in alphabetical order)

Aki (dir. Darlene Naponse, Canada)

Copper (dir. Nicolas Pereda, Mexico)

The Good Sister (dir. Sarah Miro Fischer, Germany)

Home Sweet Home (dir. Frelle Petersen, Denmark)

Levers (dir. Rhayne Vermette, Canada)

Meadowlarks (dir. Tasha Hubbard, Canada)

Nino (dir. Pauline Loquès, France)

Phantoms of July (dir. Julian Radlmaier, Germany)

Punku (dir. J.D. Fernández Molero, Peru)

Two Pianos (dir. Arnaud Desplechin, France)

Chris Raven (Chris Pratt) wakes up, or maybe comes to, sitting in a chair, his wrists manacled. He is in Mercy Court, presided over by an AI judge who gives him 90 minutes to prove that he did not murder his wife. If he is not successful, he will immediately be executed.

“Mercy” is set in the near future, when civil unrest has led to the development of the AI court, reversing the Constitutional presumption of innocence and right to counsel with a system designed for efficiency. It is “the ultimate deterrent.” Chris is the 19th person to be tried by the AI judge, who appears on screen as a female character named Judge Maddox (Rachel Ferguson).

Chris does not even remember where he was the previous day and learns from the “judge” that his wife has been stabbed to death in the kitchen, her body discovered by their teenage daughter, Britt (Kylie Rogers). The “judge” plays the footage for him, showing him leaving work to return home, insisting on entering despite his wife telling him not to come in. No one else came to the house during that time period. Chris, a cop who was instrumental in developing the AI court system and brought in the first case, now sees what it is like to be on the other side. As the clock ticks down, Chris has access to all of footage, recordings, and records that are automatically stored online and is permitted to make calls to witnesses.

Producer/director Timur Bekmambetov specializes in action with a fantasy element like “Night Watch” and “Abraham Lincoln: Vampire Hunter” and that makes him a good fit for this film. We might not expect a movie set primarily in one spare room with a screen and a chair to be in IMAX 3D, but it keeps the visuals from feeling claustrophobia-inducing as Chris and the judge call up images of all of footage and data Chris calls up on the screen. Chris has an immersive experience, and the effects make us feel a part of it.

The set-up is strong, raising questions (though not spending much time exploring them) about how society balances safety and justice and imposing a tight time limit to build and sustain a feeling of urgency. Adopting if not reaching the ingenuity of telling the story on a screen of the innovative films “Searching’ and “Missing,” produced by Bekmambetov, he makes the best of that form of storytelling and Pratt does very well stuck in a chair, showing us how his character shifts from horrified, confused, and humiliated to the determined problem-solver cop he is.

The last part of the movie gets over-complicated, piling detail upon detail, and cutting some logical corners. But Pratt is, as always, a likable presence and we want to see him work through this mess and prove that he is innocent — and that at least for now humans can still outthink machines.

Parents should know that this movie included the murder of a mother, discovered by her daughter who is very traumatized, as well was peril and violence including guns, explosives, and a car chase, with characters injured and killed. Characters use strong language, some are alcoholics who struggle to stay sober and one starts drinking again and gets very drunk, there is brief drug use and reference to making and distributing drugs.

Family discussion: Do you think AI will ever be able to judge someone’s guilt? Did you think Chris was guilty and if you did, what changed your mind?

If you like this, try: “Missing” and “Searching”

The first major movie and film awards of the year were given out last night at a glittery, celebrity-packed ceremony hosted by Chelsea Handler. Surprises included Best Supporting Actress Amy Madigan, for her role as the evil Aunt Gladys in “Weapons” and Best Supporting Actor Jacob Elordi for his role as the Monster in “Frankenstein.” It is unusual for horror/thriller movies to be recognized but both performances were truly outstanding. As expected Jessie Buckley won Best Actress for “Hamnet.” Two top contenders split the top awards; “One Battle After Another” won Best Adapted Screenplay, Best Director, and Best Picture and “Sinners” won Best Youth Performance, Best Original Screenplay, and Best Cast/Ensemble. “KPop Demon Hunters” won Best Song for “Golden” and Best Animated Feature” to great enthusiasm from the crowd. All the awards below:

Film

Best Picture

“One Battle After Another”

Best Actor

Timothée Chalamet, “Marty Supreme”

Best Actress

Jessie Buckley, “Hamnet”

Best Supporting Actor

Jacob Elordi, “Frankenstein”

Best Supporting Actress

Amy Madigan, “Weapons”

Best Young Actor or Actress

Miles Caton, “Sinners”

Best Director

Paul Thomas Anderson, “One Battle After Another”

Best Original Screenplay

Ryan Coogler, “Sinners”

Best Adapted Screenplay

Paul Thomas Anderson, “One Battle After Another”

Best Casting and Ensemble

Francine Maisler, “Sinners”

Best Cinematography

Adolpho Veloso, “Train Dreams”

Best Production Design

“Frankenstein”

Best Editing

Stephen Mirrione, “F1: The Movie”

Best Costume Design

“Frankenstein”

Best Hair and Makeup

“Frankenstein”

Best Visual Effects

“Avatar: Fire and Ash”

Best Stunt Design

“Mission: Impossible — The Final Reckoning”

Best Animated Feature

“KPop Demon Hunters”

Best Comedy

“The Naked Gun”

Best Foreign Language Film

“The Secret Agent”

Best Song

“Golden,” “KPop Demon Hunters”

Best Score

Ludwig Goransson, “Sinners”

Best Sound

“F1: The Movie”

Television

Best Drama Series

“The Pitt”

Best Actor, Drama Series

Noah Wyle, “The Pitt”

Best Actress, Drama Series

Rhea Seehorn, “Pluribus”

Best Supporting Actor, Drama Series

Tramell Tillman, “Severance”

Best Supporting Actress, Drama Series

Katherine LaNasa, “The Pitt”

Best Comedy Series

“The Studio”

Best Actor, Comedy Series

Seth Rogen, “The Studio”

Best Actress, Comedy Series

Jean Smart, “Hacks”

Best Supporting Actor, Comedy Series

Ike Barinholtz, “The Studio”

Best Supporting Actress, Comedy Series

Janelle James, “Abbott Elementary”

Best Limited Series

“Adolescence”

Best TV Movie

“Bridget Jones: Mad About the Boy”

Best Actor, Limited Series or TV Movie

Stephen Graham, “Adolescence”

Best Actress, Limited Series or TV Movie

Sarah Snook, “All Her Fault”

Best Supporting Actor, Limited Series or TV Movie

Owen Cooper, “Adolescence”

Best Supporting Actress, Limited Series or TV Movie

Erin Doherty, “Adolescence”

Best Foreign Language Series

“Squid Game”

Best Animated Series

“South Park”

Best Talk Show

“Jimmy Kimmel Live!”

Best Variety Series

“Last Week Tonight With John Oliver”

Best Comedy Special

“SNL50: The Anniversary Special”

I love Rian Johnson‘s “Knives Out” movies, and this latest one had everything I hoped for: a twisty plot, a knock-out cast, a dash of commentary about contemporary life and searching for meaning. Also: searching for money. Power, too, but especially money. Writer/director Rian Johnson makes each film in the series a different setting and tone, so instead of “Glass Onion’s” sunny setting in a huge, art-filled mansion on a Greek island, this one has a gothic feeling, set in and around a spooky Catholic Church in upstate New York.

It begins with a literal knock-out. An idealistic young priest named Father Jud Duplenticy (2025’s MVP Josh O’Connor, in his third of four films released this year) punches another priest in the nose for some unnamed offensive remark. Father Jud came to the Catholic church after a brief career as a boxer and a period of feeling lost and guilty. He is devoted to his calling as a way to share healing, encouragement, trust, and community.

He is assigned by his bishop (Jeffrey Wright) to be assistant priest to the imperious Monsignor Jefferson Wicks (Josh Brolin). Even the names have a gothic ring. Monsignor Wicks (do NOT call him Father) has a small coterie of devoted followers and enjoys being so bombastic and judgmental from the pulpit that anyone outside that group walks out of the service. He is not happy to have Father Jud and immediately accuses him of trying to take over the church. Then he insists on giving his confession and intentionally makes it as uncomfortable for Father Jud (though hilarious for the audience) as possible.

Glenn Close plays Martha Delacroix (I told you about the names), who is the church’s pretty much everything but the priest. She runs the office and fills the chalice. As a child, she was devoted to Wicks’ grandfather, a widower with a daughter who became a priest, and it has been the center of her life ever since.

The Wicks loyalists are groundskeeper Samson Holt (Thomas Hayden Church), who is in love with Martha, popular author turned fanatic Lee Ross (Andrew Scott), currently working on a book about Wicks with a strong overlay of conspiracy theories, ailing young cellist Simone Vivane (Cailee Spaeny), who believes Wicks will find a way to cure her through faith — and her generous financial contributions, doctor Nat Sharp (Jeremy Renner), devastated because his wife left him, and attorney Vera Draven (Kerry Washington), who gave up her dream of advocating for the public good to follow her father as lawyer for the church. Her father also told her she had to be responsible for Cy, a young boy he brought home. Cy (Daryl McCormack) is now an adult, back living with Vera after a failed political campaign, and trying to make a comeback as an influencer, posting Wicks’ sermons.

This is a nicely toxic soup for what will turn out to be that favorite of mystery authors and fans, a locked door murder. A body is discovered in a locked alcove near the pulpit during a service with everyone in the pews as witnesses that the murder victim was the only one who entered. The sheriff shows up (Mila Kunis) and of course so does master murder-solver Benoit Blanc (Daniel Craig).

Composer Nathan Johnson, as he did on the two previous films, enhances the story with evocative music, starting with screechy strings in the first scene and reaching for resolution.

As with the earlier films, there is some sharp commentary on contemporary culture, but the film is always respectful of Father Jud’s sincerity and his attempts to create a caring environment for the congregation. O’Conner continues to impress with his exceptional range and the precision of his characterization. Like the other two British actors, Scott and McCormack, he has an impeccable American accent. With so many characters, some are more clearly defined than others. Kunis and Washington do not get a chance to show much depth to thinly drawn roles, but Bridget Everett of “Somebody Somewhere” makes the most of a tiny part as an employee of a local company who has some crucial information for Blanc and Father Jud. Like the priest, we quickly move from irritation to empathy as she keeps him on the phone. And then we get to enjoy the twists and surprises. Can’t wait for the next one.

Parents should know that this is a murder mystery with violent deaths. Characters drink alcohol and there are references to a child born out of wedlock and an adult who is a drug abuser and has sex with many people. There are very explicit sexual references.

Family discussion: What drew each of the members of the congregation to Monsignor Jefferson Wicks? Why was Martha so loyal? What will Father Jud do next?

If you like this, try: the other “Knives Out” movies, Agatha Christie films like the original “Murder on the Orient Express,” “And Then There Were None,” and “Witness for the Prosecution,” as well as locked room classics like the one mentioned in the film, Hollow Man by John Dickson Carr.