Review: ‘The Batman,’ starring Robert Pattinson, Zoë Kravitz, Paul Dano, Jeffrey Wright, Andy Serkis, Colin Farrell and John Turturro

February 28, 2022

by Carla Hay

Zoë Kravitz and Robert Pattinson in “The Batman” (Photo by Jonathan Olley/DC Comics/Warner Bros. Pictures)

“The Batman”

Directed by Matt Reeves

Culture Representation: Taking place in the fictional U.S. city of Gotham City, the superhero action flick “The Batman” features a predominantly white cast of characters (with some African Americans and Latinos) representing the working-class, middle-class and wealthy.

Culture Clash: Vigilante superhero Batman—the secret alter ego of orphaned billionaire Bruce Wayne—battles several villains (some more obvious than others) in a race against time to stop psychopath The Riddler, who is intent on destroying Gotham City.

Culture Audience: “The Batman” will appeal primarily to people who are interested in superhero movies with a dark and brooding tone that’s similar to director Christopher Nolan’s “Batman/The Dark Knight” movies.

Robert Pattinson in “The Batman” (Photo by Jonathan Olley/DC Comics/Warner Bros. Pictures)

Richly layered in dark intrigue and life’s shades of gray, “The Batman” takes viewers deeper into Batman/Bruce Wayne’s mind than previous “Batman” films have ever ventured. This top-notch superhero film makes pointed social commentaries about greed, corruption and responsibilities of the wealthy, in addition to delivering plenty of stunning action sequences. The movie’s total running of time of 175 minutes doesn’t make the movie feel too bloated, although at times the filmmakers’ ambitions to make “The Batman” an epic superhero film seem forced into the story a little too much, in order to justify this nearly three-hour movie.

Directed by Matt Reeves, “The Batman” is not an origin story, such as director Christopher Nolan’s 2005 movie “Batman Begins,” which was the first in Nolan’s Batman movie trilogy that continued with 2008’s “The Dark Knight” and 2012’s “The Dark Knight Rises.” Reeves co-wrote “The Batman” screenplay with Peter Craig, with the movie based on DC Comics characters created by Bob Kane and Bill Finger.

In the beginning of “The Batman,” billionaire Bruce Wayne (played by Robert Pattinson), whose secret alter ego is vigilante superhero Batman, has been fighting crime as this caped crusader for two years, mostly at night. And it’s drained his finances to the point where his trusted butler Alfred Pennyworth (played by Andy Serkis) warns Bruce that if Bruce keeps doing what he’s doing as Batman, he’ll have no more money left, and that Bruce is doing a disservice to his family’s legacy. “Alfred, stop,” Bruce says with impatience at Alfred’s worrying lecture. “You’re not my father.” Alfred replies grimly with a hint of sadness, “I’m well aware.”

As Batman fans already know, Bruce lives in the fictional U.S. city of Gotham City (also known as Gotham), which is designed to look a lot like New York City. (“The Batman” was actually filmed in the United Kingdom and Chicago.) In the movie version of the Batman saga, Bruce’s parents—billionaire philanthropists Thomas Wayne and Martha Wayne—were gunned down in front of him by an unidentified man when Bruce was 8 years old. The killer has not been caught, and his parents’ murders have haunted Bruce ever since. Thomas (played by Luke Roberts) and Martha (played by Stella Stocker) are seen in brief flashbacks in “The Batman.”

The murders of Bruce’s parents motivated Bruce to become a secret crimefighter as an adult. Finding out who killed his parents is never far from Bruce’s mind. He’s been investigating with the help of Alfred. However, Batman’s other crimefighting duties often get in the way of this investigation. In addition to being a philanthropist, Thomas Wayne was a medical doctor and a politician. He was a mayoral candidate for Gotham when he and his wife were murdered.

Bruce has no superpowers, but his wealth has allowed him to have highly sophisticated and top-level resources, weapons and equipment, including his famous Batsuit and Batmobile. In “The Batman,” Bruce also has special contact lenses, which act as hidden cameras. Gotham police summon Batman for his help, by sending out a lighted signal of distress called the Bat-Signal, which is the Batman logo that can be seen in the sky.

Out of all of the movie incarnations of Batman, “The Batman” has a tone that most closely adheres to Nolan’s “Batman/Dark Knight” trilogy, with some noticeable differences. Compared to all previous “Batman” movies, “The Batman” is much more immersive in the psychology of Bruce Wayne/Batman—so much so, that viewers can hear Bruce’s/Batman’s inner thoughts in voiceovers throughout the movie. It’s a filmmaker choice that might annoy some viewers, but in the context of “The Batman,” it works very well.

The movie’s opening scene takes viewers right into Bruce’s/Batman’s state of mind, as heard in a voiceover that says: “Two years of nights have turned me into a nocturnal animal. I must choose my targets carefully. It’s a big city. They don’t know where I am. The signal that lights up the sky is not just a call. It’s a warning to them. Fear is a tool. They think I’m lying in the shadows, but I am the shadows.”

This version of Batman has a type of inner turmoil and rage that hasn’t been seen in previous “Batman” movies. Batman famously has a personal policy to not kill people unless it’s justifiable self-defense. But in “The Batman,” this caped superhero unleashes some vicious beatings that go beyond what would be necessary to defeat an opponent. There’s a scene in the movie where Batman has to be physically stopped by law enforcement during one of these near-fatal assaults. It’s one of the reasons why Batman is feared and mistrusted by certain people who think he’s an out-of-control vigilante.

Previous “Batman” movies also made it very clear who the heroes and villains are. “The Batman” effectively blurs those lines, as secrets are revealed about several characters’ backgrounds. However, there’s no question that the chief villain of “The Batman” is a mysterious psychopath named The Riddler (played by Paul Dano), whose real name is Edward Nashton. “The Batman” reveals only a few other things about The Riddler’s personal background, since he operates and is seen mostly in the shadows.

However, there’s no doubt about The Riddler’s motives. He leaves notes and clues around Gotham to announce that his murder victims are being targeted because they are corrupt leaders who have betrayed the citizens of Gotham and beyond. The first murder is shown early on in the movie, which opens on Halloween night in Gotham.

This murder takes place 20 years (to the week) after the murders of Thomas and Martha Wayne. The target of this Halloween-night murder is “tough on crime” Mayor Don Mitchell Jr. (played by Rupert Penry-Jones), who is brutally tied up and assaulted in his own home, as he is watching himself in a pre-recorded televised candidate debate for Gotham’s next mayoral election. The incumbent mayor is home alone because his wife (played by Kosha Engler) and son (played by Archie Barnes), who do not have names in the movie, are somewhere else celebrating Halloween.

Is The Riddler acting alone, or does he have any cronies? One of the best aspects of “The Batman” is that the movie plays guessing games about where loyalties lie and whom Batman/Bruce can really trust. Bruce also finds out certain things that make him question his own motives and ethics, as well as how well he thought he knew his parents before they died. Throughout the movie, Bruce/Batman is a trusted ally of James Gordon (played by Jeffrey Wright), a lieutenant of the Gotham City Police Department, who includes Batman in the investigations and at each scene of The Riddler’s crimes.

In previous “Batman” movies, Bruce was an obvious playboy. In “The Batman,” Bruce is still a brooding eligible bachelor, but he isn’t dating anyone. However, when he meets Selina Kyle (played by Zoë Kravitz), also known as Catwoman, there’s a mutual attraction between them that sparks a little bit of romance. (They kiss each other in the movie.) Selina works as a bar server at warehouse-styled nightspot called the Iceberg Lounge, owned by shady and slippery business mogul Oswald “Oz” Cobblepot (played by Colin Farrell), also known as The Penguin.

Selina is an emotionally damaged soul whose Catwoman alter ego is a skilled and clever thief. Selina also “collects” stray cats and takes care of several of these cats in her home. In “The Batman,” Selina and Bruce cross paths because she’s investigating the disappearance of her Russian immigrant roommate Annika Kosolov (played by Hana Hrzic), whom Selina thinks has been kidnapped because Annika knew too much about a powerful man whom Annika was dating. The reasons for Annika’s disappearance (and how they all connect to a larger story) are eventually revealed in “The Batman.”

Even though Selina describes Annika to people as her “friend,” the movie hints that Annika was also Selina’s lover. Before Annika disappeared, Selina is shown comforting a distressed and fearful Annika in their apartment. Annika won’t tell Selina what’s wrong, and Selina keeps calling her “baby” and touching Annika in the way that someone would touch a lover. The movie leaves Selina’s sexuality open to interpretation because it seems the intention is that Selina is the type of person who doesn’t want to put a label on her own sexuality. Whatever the nature of Selina’s relationship is with Annika, it’s a departure from previous movie/TV characterizations of Selina, who is usually depicted as a social outcast who lives alone.

The potential romance between Batman and Catwoman is fraught with trust issues and the taboo of Batman dating someone he knows breaks the law. However, their emotional connection is powerful. Bruce and Selina both know the pain of growing up without parents and having a parent murdered. Selina’s single mother Maria (who is not seen in the movie) was strangled when Selina was 7 years old. Bruce and Selina also have the shared characteristic of having secret identities that are often misunderstood to the point where certain people don’t know if Batman and Catwoman are heroes or villains.

During the course of the movie, these other characters come into the orbit of Bruce/Batman: Carmine Falcone (played by John Turturro), a ruthless mob boss who has The Penguin as his “right-hand man”; Gil Colson (played by Peter Sarsgaard), Gotham’s district attorney who’s at the center of one of the most suspenseful scenes in the movie; Pete Savage (played by Alex Ferns), the Gotham City Police Department commissioner who doesn’t trust Batman as much as Lieutenant Gordon does; Gotham City Police Department chief Mackenzie Bock (played by Con O’Neill), who also has mistrust of Batman; and Bella Reál (played by Jayme Lawson), the young and progressive mayoral candidate who was Don Mitchell Jr.’s opponent in the mayoral race, and she is elected mayor after his death.

During all of this murder and mayhem in Gotham, Bruce finds out that he’s the target of The Riddler because The Riddler thinks that Bruce is corrupt too. Does The Riddler knows Batman’s real identity? The answer to that question is shown in the movie. There’s also some intrigue around the Wayne Foundation Renewal Fund, a charitable venture launched by Bruce’s father and is worth millions.

And in “The Batman,” the Iceberg Lounge has a “club within a club” that’s exactly what you might think it is for a nightclub that attracts a lot of powerful figures involved in criminal activities. The movie has several references to an opioid-like liquid drug called “drops,” because people take the drug through eyedrops, and addicts are called “dropheads.” Years before this story takes place, a crime lord named Salvatore Morrone (who’s never seen in the movie) was a major dealer of drops, and he got busted while Don Mitchell Jr. was mayor of Gotham. This drug bust has had long-lasting repercussions.

“The Batman” offers some biting views on how rich people throwing money at society’s problems doesn’t necessarily erase those problems if systemic inequalities still remain. Catwoman shows she has a side to her that’s about disrupting or challenging society’s institutions that are constructed to keep corrupt, privileged people in power. She’s not really an activist, but more like a social anarchist. And, for the first time in a “Batman” movie, Bruce is really taken to task by certain people for being perceived as a spoiled, wealthy heir who hasn’t really done much to help underprivileged people.

It’s not really “social justice preaching,” but it somewhat shocks Bruce to see that people seem to resent that he appears to have an “ivory tower” mindset while people are suffering around him. And to be fair, this Bruce is such a depressed recluse in “The Batman,” he’s not exactly hobnobbing at charity events as much as Bruce did in previous “Batman” movies. Alfred has to practically beg Bruce to go to a high-society fundraiser, so that Wayne Family charities can continue to operate.

As well-written as “The Batman” screenplay is, it’s hard to go wrong with such a talented group of cast members, who embody their roles as if they were born to play these characters. Pattinson has already demonstrated in plenty of his independent films that he’s got the gravitas and empathy to personify the dual roles of Batman and Bruce Wayne. Kravitz is all kinetic grace and seductive street smarts as Selina Kyle.

Farrell (who’s unrecognizable underneath exceptional prosthetic makeup) does one of the best supporting-role performances of his career as The Penguin, a menacing and sarcastic thug who isn’t in the movie as much as “The Batman” movie trailers would suggest, but he still makes an undeniable impact. Dano is chilling and unnerving as The Riddler, who’s a combination of a calculating mastermind and a loose cannon. This is not a fun-loving, impish and giggling Riddler, as seen in other “Batman” movies or TV shows. This Riddler is genuinely an infuriated and deeply disturbed villain. The cast members in the other supporting roles do their jobs well in characters that are less complex.

In the 2010s, “The Batman” director Reeves helmed two stellar “Planet of the Apes” movies: 2014’s “Dawn of the Planet of the Apes” and 2017’s “War for the Planet of the Apes.” With the “The Batman,” Reeves raises the bar considerably for all other “Batman” films to come. “The Batman” excels in numerous areas of filmmaking to make this superhero movie true visual art. The captivating cinematography (by Greig Fraser) is bathed in hues of black, dark gold and crimson red to bring viewers into a very specific and fascinating world. In addition to the cinematography, the movie’s costume design (led by Jacqueline Durran), production design (led by James Chinlund), musical score (by Michael Giacchino), makeup, sound, visual effects and stunts are all worthy of awards attention.

The musical choices in “The Batman” are particularly effective. For example, Batman’s theme in this movie, which is a nod to composer John Williams’ Darth Vader theme in 1977’s “Star Wars,” is quite possibly the most memorable Batman movie theme to come along in years. It’s a stirring musical signature that evokes the despair and determination that weigh heavily on Batman/Bruce Wayne’s soul. The musical interludes in “The Batman” also include Nirvana’s melancholy song “Something in the Way,” which is woven into the story in such a distinctive manner, viewers will get this song stuck in their heads long after seeing this movie.

But one of the ways that “The Batman” truly stands out from other superhero movies is that it doesn’t necessarily follow the predictable formula of all the villains defeated at the very end. (And “The Batman” has are no mid-credits scenes or end-credits scenes.) The movie takes on some heavy issues, including how society places a stigma on mental illness, and how this stigma has serious repercussions on people’s lives.

“The Batman” also has a few twists and turns that might surprise audiences. (For example, people will be talking about Barry Keoghan’s cameo as a “mystery character” near the end of the movie.) Most of all, “The Batman” accomplishes what many other superhero films don’t: The movie shows the vulnerabilities of a troubled superhero protagonist, who doesn’t have bunch of superhero friends to back him up, and who is at war with himself as much as he is at war against crime.

Warner Bros. Pictures will release “The Batman” on March 4, 2022, with official sneak-preview screenings on March 1 and March 2, 2022. The movie is set to premiere on HBO Max and will be released on digital and VOD on April 18, 2022. HBO will premiere “The Batman” on April 23, 2022. “The Batman” will be released on 4K, Blu-ray and DVD on May 24, 2022.

Review: ‘Love Sarah,’ starring Celia Imrie, Shannon Tarbet, Shelley Conn, Rupert Penry-Jones and Bill Paterson

February 22, 2021

by Carla Hay

Celia Imrie, Shannon Tarbet and Shelley Conn in “Love Sarah” (Photo courtesy of Samuel Goldwyn Films)

“Love Sarah”

Directed by Eliza Schroeder

Culture Representation: Taking place in London, the dramedy film “Love Sarah” features a predominantly white cast of characters (with some people of Indian, Latino, African and Japanese heritage) representing the middle-class and the working-class.

Culture Clash: A rising-star pastry chef dies before launching a bakery business, but her best friend, 19-year-old daughter and estranged mother decide to band together and open the bakery in her memory.

Culture Audience: “Love Sarah” will appeal primarily to people who are interested in watching sentimental and harmless dramas.

Shelley Conn and Rupert Penry-Jones in “Love Sarah” (Photo courtesy of Samuel Goldwyn Films)

It might be a good idea not to watch “Love Sarah” when you’re hungry. The delectable pastries that are on display throughout this comedy/drama movie are among the highlights of this good-natured but ultimately bland and predictable story. However, the acting performances are watchable, and the movie has its heart in the right place, so it can be recommended viewing for anyone who’s in the mood for an uplifting story about forgiveness and following dreams.

Directed by Eliza Schroeder and written by Jake Brunger, “Love Sarah” starts off with the heartbreak of three very different London women whose lives have been shaken up by the death of a loved one named Sarah Curachi. On the day that she died, Sarah (played by Candice Brown), who’s in her late 30s, is shown riding her bicycle on her way to the empty storefront that she has rented in Notting Hill with her best friend Isabella (played by Shelley Conn), who’s about the same age as Sarah. Isabella is waiting outside impatiently because Sarah is late.

Meanwhile, Sarah’s mother Mimi Curachi (played by Celia Imrie), a retired circus owner/performer who lives by herself, is writing a letter of apology to someone who’s obviously her daughter. Viewers find out later that the letter was supposed to be sent to Sarah, who is Mimi’s only child.

Sarah is a single mother to a 19-year-old aspiring ballet dancer named Clarissa Curachi (played by Shannon Tarbet), who sometimes goes by the nickname Lari. Clarissa is a bit of a rebel because even though she’s training to be a dancer, she regularly smokes marijuana and she’s irresponsible with money.

It’s not shown in the movie, but Sarah was accidentally hit by a car, so she never made it to the storefront that day. Sarah and Isabella, who went to culinary school together, were renting the space with plans to open a bakery. The movie shows how the three most important people in Sarah’s life cope with her death.

After Sarah’s death, Isabella is shown in a distressed meeting with a leasing agent named Clive (played by Andrew Davis). Isabella is upset because, as a co-signer on the lease, she’s still responsible for paying the rent. Sarah was the star chef in this business partnership. (Sarah was good enough to train with celebrity chef Ottolenghi, as Isabella mentions in the meeting.) Because Sarah died, the bakery’s investors pulled out of the business.

Isabella (who quit her job as an investment banker) has been draining her savings to pay the rent. Despite a lot of pleading, the landlord won’t let Isabella out of the lease until another renter can take over the lease. Isabella decides it’s up to her to find another renter. The rental space, which is unfurnished and run-down, is definitely a “fixer upper” that had been vacant for quite some time before Sarah and Isabella rented it. Therefore, it’s going to be a big challenge to find someone else to take over the lease.

Meanwhile, Clarissa is also going through some tough times. She’s grieving over her mother’s death and hasn’t been able to concentrate in her dance classes. One night, her live-in boyfriend Alex (played by Max Parker), who’s also a dancer in the same class, tells Clarissa that their relationship isn’t working anymore, and he breaks up with her. Apparently, Clarissa’s name was not on the lease, because Clarissa is the one who has to move out.

With nowhere to go, Clarissa breaks into the storefront and spends the night there. The next morning, she’s about to be possibly arrested by the police, who were notified that there was a break-in. Isabella is there with two cops when she notices that Clarissa is sleeping on the floor. Isabella tells the cops that she knows Clarissa and can vouch for her, so the police officers leave.

An embarrassed Clarissa tells Isabella that she’s homeless because of the break-up with Alex. Isabella says that Clarissa can temporarily stay at Isabella’s place, but Clarissa declines the offer because she knows that Isabella’s home is so small that the only place that Clarissa would be able to sleep is on the couch. Clarissa tells Isabella that there’s only one other person she can ask for a place to stay. They both know who it is, and they both are reluctant to be in contact with her.

Sarah’s mother Mimi had been estranged from Sarah when Sarah died. That estrangement also extended to Clarissa, who has been avoiding seeing her grandmother for about a year or more, according to the inevitable conversation that Clarissa has later with Mimi. The movie shows Mimi grieving by avoiding spending time with her friends who invite her to social outings, and by spending time alone at home watching old film footage of herself when she used to be a trapeze artist in the circus.

What did Mimi do that was so awful that her daughter and granddaughter didn’t want to be in contact with her? The answer is revealed later in the movie. And what Mimi did is not as bad as you might think it is.

However, there are other hints in the story that Mimi’s fractured relationship with Sarah had been a problem for years. As the owner of a circus, Mimi often had to travel, and Sarah felt neglected when she was growing up. Mimi also has a prickly and overly judgmental personality that makes it hard for people to get close to her. Sarah’s father is not mentioned in the story, but it’s implied that Mimi was a single mother when she raised Sarah.

Sarah repeated the same pattern, by raising Clarissa as a single mother with no father around to help. The identity of Clarissa’s biological father becomes a subplot to this movie. After Sarah’s death, Clarissa is shown looking at her own birth certificate and seeing that the space for the father’s name has the word “unknown.”

It’s not a surprise to Clarissa, because she’s apparently been told all of her life that her biological father wasn’t going to be a part of her life. But now that Sarah has died, Clarissa wants to find out who her father is. Isabella mentions to Clarissa that Sarah always told her that Clarissa’s father was someone whom Sarah barely knew. Sarah wasn’t even sure what his name was.

Isabella has gone back to her investment job, working in a corporate office. Her heart isn’t in it, but she needs the money. And as fate would have it, Isabella has found another renter for the storefront. It’s a man who wants to turn the space into a wine bar. But lo and behold, shortly before Isabella is about to close this deal to sign over the lease to someone else, Clarissa shows up at Isabella’s office and begs her not to give up on the bakery.

Isabella is practical and tells Clarissa that she can’t afford to launch the bakery. Clarissa tells Isabella that she knows how to get the money to launch the business. And that leads to the inevitable scene where Clarissa reunites with Mimi. At first, Mimi is wary of Clarissa’s sudden reappearance in her life. And Mimi correctly guesses that what Clarissa wants from Mimi has something to do with money.

However, Clarissa is able to convince Mimi to invest in the bakery because she says it will be a way to honor Sarah. They decide to call the bakery Love Sarah. And the next thing you know—in the unrealistic way that movies conjure up ultra-convenient scenarios—Clarissa, Mimi and Isabella suddenly have the skills work on Love Sarah’s interior design and construction together. The first time that Clarissa takes Mimi to the dilapidated storefront, she says excitedly, “You can definitely see its potential.” Mimi quips in response, “What, as a crack den?”

Because a movie like this usually likes to have some romance as part of the story, there are two men who each end up becoming a potential love interest—one for Isabella, and the other for Mimi. There’s the predictable trope of the men making the first move, and the women playing hard to get, but we all know how these storylines are going to end.

Mathew Gregory (played by Rupert Penry-Jones) was a culinary school classmate of Sarah’s and Isabella’s. He suddenly shows up at Love Sarah one day and says he’s no longer working as a chef of a two-star Michelin restaurant. He also announces to Isabella that he wants to be a chef with her at the bakery. Isabella isn’t very happy to see Mathew because he used to date Sarah in their culinary school days, but he cheated on Sarah, so the relationship ended. Therefore, Isabella has a hard time trusting Mathew.

Sarah, Mathew and Isabella went to culinary school 20 years ago. Clarissa knows that the timeline of when Sarah and Mathew dated matches the timeline of when Clarissa could have been conceived. Mathew knows it too, so there’s some drama over a DNA test that results in Clarissa finding out whether or not Mathew is her biological father. However, Clarissa isn’t the only reason why Mathew wants to work at the bakery.

Mimi catches the eye of a man named Felix (played by Bill Paterson), who’s around the same age as she is. He lives in a building that’s directly across the street from the bakery. Mimi first notices Felix looking out his window at her while she’s at the bakery. After the bakery opens, Felix stops by and introduces himself as an inventor.

Felix is a little bit of an eccentric, and he tells Mimi, Isabella and Clarissa (who are all working at Love Sarah) that he’s invented a top-notch security system. Felix offers his services to install the security system because he says there have been break-ins and burglaries in the area. But it’s pretty obvious from the way he acts (he makes it known that he’s single and available) that the security system is just an excuse to try to get to know Mimi better. It should come as no surprise that she eventually warms up to his attention.

“Love Sarah” has a few very corny moments, such as when the spirit of Sarah is seen looking into the bakery and smiling at all the activity taking place. Fortunately, this ghostly appearance is only fleeting, because the last thing this movie needed was to turn into a “Ghost” ripoff, with Sarah appearing reincarnated in the bakery kitchen to guide the chefs in making the pastries. There’s also a very formulaic plot development where a would-be couple gets together, then has a falling out over a lie/misunderstanding, and then the person who feels betrayed has to decide if the other person deserves another chance.

All of the actors play their roles solidly and convincingly, but this movie isn’t going to win any awards. Some parts of the movie drag in a sluggish manner, so the pacing would’ve improved with better dialogue and more interesting things happening in the bakery. And there are some antics that Mathew does that are a little ridiculous and borderline stalker-ish, in his attempt to impress someone in the story.

Another flaw is how the movie clumsily handles Clarissa’s dreams of becoming a dancer. Clarissa’s work to become a professional dancer is shown in the beginning of the movie as a big part of her identity. And then, she’s not shown dancing at all when she decides to work full-time in the bakery. It’s as if the movie doesn’t want to explain how she handled not being in dance classes anymore because she had to be at Love Sarah. It’s not until the end of the movie that Clarissa’s identity as a dancer is hastily brought back up again, almost as an afterthought.

“Love Sarah” has a lot of sentimentality, but it isn’t a completely squeaky-clean movie, since there’s some occasional cursing in the film. For people interested in an overall feel-good movie, “Love Sarah” is a pleasant diversion. And it’s sure to delight foodies who love pastries because there’s an enticing variety that’s on display.

Samuel Goldwyn Films released “Love Sarah” in select U.S. cinemas and on digital and VOD on January 15, 2021.

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