‘Blindspotting’ holds its brilliance as Season 2 launches

The Bay Area takes center stage in two series dropping this week, the second season of “Blindspotting” and the Apple TV+ thriller “The Last Thing He Told Me.”

We also have what might be the best animated feature of 2023, and a Michelle Williams performance that deserves Oscar chatter. We even have a cult classic in the making.

Here’s our roundup.

“Blindspotting Season 2”: From summoning up the energy to throw a birthday party for her son Sean (Atticus Woodward) in Tilden Regional Park to a challenging 48-hour visit with her husband Miles (Rafael Casal) at San Quentin, Ashley (Jasmine Cephas Jones) is trying to keep from unraveling. That’s at the soul of the second season of Starz’ Oakland-set “Blindspotting,” a Bay Area favorite that succeeds where previous series have failed — showing the everyday struggles of families with loved ones in prison. And it does so with a mix of drama and comedy. East Bay natives Casal and Daveed Diggs are the creators behind the show as well as the 2018 “Blindspotting” film that got it all started. What makes both the film and this Starz series so special is that they spotlight the voices of those who too often are left out of film and TV fare — and they do so in bold and innovative ways. From its novel storytelling to its engaged cast, including Helen Hunt as Miles’ mom, this is fearless and above all relevant entertainment. My only complaint? I wish there were more than eight episodes. Details: 3½ stars out of 4; debuts 9 p.m. April 14 on Starz.

“The Last Thing He Told Me”: In something of a rarity for a stand-alone series, Apple TV+’s seven-part adaptation of Laura Dave’s 2021 page-turner improves as it progresses, tossing out solid twists and then hitting us with a satisfying wrap-up. The first episode, though, looks like little more than microwaved leftovers. Consider: Sausalito woodcrafter Hannah (Jennifer Garner) leads a cookie-cutter idyllic existence with her hubby Owen (Nikolaj Coster-Waldau) and his angsty teen daughter Bailey (Angourie Rice) on a tricked-out houseboat. Then out of the blue, the hubby vanishes when the tech biz he’s working for gets shut down and investigated by the feds. Where’d Owen go and what is about to come out about his past in Austin?

These are standard questions raised in domestic thrillers such as this one, but don’t give up yet: After the setup, “Last Thing” gets better. Hannah asks her friend Jules (Aisha Tyler), a San Francisco Chronicle reporter, to nose around while she sleuths around with Bailey and uncovers one shock after another. Part of the reason why this perhaps works better than  Apple TV+’s erratic “Surface” — also set in the Bay Area — is that Dave steers the ship along with co-creator Josh Singer. Since she wrote the book, she knows how to navigate the material. It also helps the likable Garner’s in the lead and David Morse joins in to bring more gravitas to the production. Details: 3 stars; first two episodes drop April 14 with new episodes out each Friday through May 19.

“Suzume”: Japanese director/writer Makoto Shinkai’s latest is gorgeous to behold, a moving parable about surviving trauma/tragedy and learning how to become whole once again. It might well be the best animated feature you’ll see in 2023. As with all his previous works — including 2016’s “Your Name” and 2019’s “Weathering with You” — Shinkai creates a richly layered, complex world that combines potent elements of myth, romance, even existentialism. The worldbuilding begins with the arrival of handsome wanderer Sota, who’s on a quest to find magical doors that assist in keeping locked away a voracious worm-like creature that can trigger devastating earthquakes. The 17-year-old Suzume joins Sota and ventures into a magical realm in which Sota later transforms into a beloved item from her childhood and she meets two cats with supernatural abilities It’s intricate and interlocking and requires activation of all your senses, but it’s also a sensitive portrayal of coming back from adversity and moving forward while still acknowledging a horrible loss. It’s beautiful, poetic and must be seen on the biggest screen imaginable. Details: 4 stars; in theaters April 14.

“Showing Up”: What a shame Michelle Williams’ performance in her latest indie collaboration with screenwriter/director Kelly Reichardt will likely not generate the kind of awards chatter that her Oscar-nominated performance in Steven Spielberg’s “The Fablemans” did. It’s so good it deserves that kind of attention. In this leisurely paced but acutely aware character drama, Williams immerses herself into the part of introverted Portland sculptor Lizzy as she prepares for a showing of her work. Part of a creative community of artists, Lizzy shuffles through life and is content with being by herself and feels more awkward in group situations. Reichardt’s depiction of the creative process and a family of artists that Lizzy belongs to makes one feel like they’re watching a documentary rather than a feature film. The “action” so to speak pertains mostly to Lizzy’s upcoming show and the distractions that ensue — including a wounded pigeon, a father (Judd Hirsch) dealing with some freeloaders who do love their cheese, a brother (John Magaro) with mental health challenges and a friend-landlord (Hong Chau) who is a distinctive artist herself. “Showing Up” is often droll as Lizzy confronts everyday crises as the big day approaches. Through it all, Reichardt reflects an abiding respect for artists and their freedom to explore and process while Williams inhabits the soul of a creative being in every frame and every second, a person most in her element when she’s crafting something unique and of her own. Details: 3 stars; in theaters April 14.

“Mafia Mamma”: Predictable and good for a couple of chuckles only, this pointlessly gory star vehicle for Toni Collette weds “Married to the Mob” to “The Godfather.” Unwitting American Kristin (Collette) inherits a Don role in Italy once her grandfather gets rubbed out. Kristin ditches her job marketing pharmaceuticals and flees her cheating rocker hubby and then canoodles over pasta and wine with the Big Guys and even manages to noodle around with a hunk (Giulio Corso). But a rival mob is intent on getting rid of her. Monica Bellucci co-stars as Kristin’s de-facto assistant, but she’s not given much of anything to do. Collette is a talented actor and works overtime to pump up this flat tire of a screenplay, but it’s all for naught. “Mafia Mamma” hints at a better movie when it comments on the patriarchy, but those choice bits get lost in all the weird carnage and mediocrity. Director Catherine Hardwicke’s sense of visual style is there, but this one’s an offer you should refuse. Details: 2 stars; In theaters April 14.

“Summoning Sylvia”: Three gay besties whisk soon-to-get-hitched Larry (Travis Coles) away for a weekend bachelor romp and rather unwittingly conjure up unresolved spirits. Never scary but always enjoyable, this horror/comedy by writers and directors Wesley Taylor and Alex Wyse’s horror comedy bubbles like a champagne spritzer and overflows with an engaging, sometimes bitchy batch of characters and a cast (including Frankie Grande, Troy Iwota, Noah J. Ricketts, Nicholas Logan and Michael Urie) that aces every laugh-out-loud line presented to them. It’s low budget, but rates high in the laugh count. Could well become a cult classic. Details: 3 stars; available to rent on Redbox, Vudu, Amazon Prime and other streaming platforms.

“The Portable Door”: In this slight, occasionally involving bit of sorcery business, two interns (Patrick Gibson and Sophie Wilde) land jobs at an enigmatic corporation interested in profiteering from magic. Since the honchos in charge of this fantastical biz happen to be played by Christoph Waltz and Sam Neill, there’s fun afoot, but at nearly two hours, this one just wanders, taking forever to capitalize on that portable door. Even as I write this, “The Portable Door” goes all but poof in my memory banks. Details: 2 stars; available on MGM+.

Contact Randy Myers at [email protected].

The Bay Area takes center stage in two series dropping this week, the second season of “Blindspotting” and the Apple TV+ thriller “The Last Thing He Told Me.”

We also have what might be the best animated feature of 2023, and a Michelle Williams performance that deserves Oscar chatter. We even have a cult classic in the making.

Here’s our roundup.

“Blindspotting Season 2”: From summoning up the energy to throw a birthday party for her son Sean (Atticus Woodward) in Tilden Regional Park to a challenging 48-hour visit with her husband Miles (Rafael Casal) at San Quentin, Ashley (Jasmine Cephas Jones) is trying to keep from unraveling. That’s at the soul of the second season of Starz’ Oakland-set “Blindspotting,” a Bay Area favorite that succeeds where previous series have failed — showing the everyday struggles of families with loved ones in prison. And it does so with a mix of drama and comedy. East Bay natives Casal and Daveed Diggs are the creators behind the show as well as the 2018 “Blindspotting” film that got it all started. What makes both the film and this Starz series so special is that they spotlight the voices of those who too often are left out of film and TV fare — and they do so in bold and innovative ways. From its novel storytelling to its engaged cast, including Helen Hunt as Miles’ mom, this is fearless and above all relevant entertainment. My only complaint? I wish there were more than eight episodes. Details: 3½ stars out of 4; debuts 9 p.m. April 14 on Starz.

“The Last Thing He Told Me”: In something of a rarity for a stand-alone series, Apple TV+’s seven-part adaptation of Laura Dave’s 2021 page-turner improves as it progresses, tossing out solid twists and then hitting us with a satisfying wrap-up. The first episode, though, looks like little more than microwaved leftovers. Consider: Sausalito woodcrafter Hannah (Jennifer Garner) leads a cookie-cutter idyllic existence with her hubby Owen (Nikolaj Coster-Waldau) and his angsty teen daughter Bailey (Angourie Rice) on a tricked-out houseboat. Then out of the blue, the hubby vanishes when the tech biz he’s working for gets shut down and investigated by the feds. Where’d Owen go and what is about to come out about his past in Austin?

These are standard questions raised in domestic thrillers such as this one, but don’t give up yet: After the setup, “Last Thing” gets better. Hannah asks her friend Jules (Aisha Tyler), a San Francisco Chronicle reporter, to nose around while she sleuths around with Bailey and uncovers one shock after another. Part of the reason why this perhaps works better than  Apple TV+’s erratic “Surface” — also set in the Bay Area — is that Dave steers the ship along with co-creator Josh Singer. Since she wrote the book, she knows how to navigate the material. It also helps the likable Garner’s in the lead and David Morse joins in to bring more gravitas to the production. Details: 3 stars; first two episodes drop April 14 with new episodes out each Friday through May 19.

“Suzume”: Japanese director/writer Makoto Shinkai’s latest is gorgeous to behold, a moving parable about surviving trauma/tragedy and learning how to become whole once again. It might well be the best animated feature you’ll see in 2023. As with all his previous works — including 2016’s “Your Name” and 2019’s “Weathering with You” — Shinkai creates a richly layered, complex world that combines potent elements of myth, romance, even existentialism. The worldbuilding begins with the arrival of handsome wanderer Sota, who’s on a quest to find magical doors that assist in keeping locked away a voracious worm-like creature that can trigger devastating earthquakes. The 17-year-old Suzume joins Sota and ventures into a magical realm in which Sota later transforms into a beloved item from her childhood and she meets two cats with supernatural abilities It’s intricate and interlocking and requires activation of all your senses, but it’s also a sensitive portrayal of coming back from adversity and moving forward while still acknowledging a horrible loss. It’s beautiful, poetic and must be seen on the biggest screen imaginable. Details: 4 stars; in theaters April 14.

“Showing Up”: What a shame Michelle Williams’ performance in her latest indie collaboration with screenwriter/director Kelly Reichardt will likely not generate the kind of awards chatter that her Oscar-nominated performance in Steven Spielberg’s “The Fablemans” did. It’s so good it deserves that kind of attention. In this leisurely paced but acutely aware character drama, Williams immerses herself into the part of introverted Portland sculptor Lizzy as she prepares for a showing of her work. Part of a creative community of artists, Lizzy shuffles through life and is content with being by herself and feels more awkward in group situations. Reichardt’s depiction of the creative process and a family of artists that Lizzy belongs to makes one feel like they’re watching a documentary rather than a feature film. The “action” so to speak pertains mostly to Lizzy’s upcoming show and the distractions that ensue — including a wounded pigeon, a father (Judd Hirsch) dealing with some freeloaders who do love their cheese, a brother (John Magaro) with mental health challenges and a friend-landlord (Hong Chau) who is a distinctive artist herself. “Showing Up” is often droll as Lizzy confronts everyday crises as the big day approaches. Through it all, Reichardt reflects an abiding respect for artists and their freedom to explore and process while Williams inhabits the soul of a creative being in every frame and every second, a person most in her element when she’s crafting something unique and of her own. Details: 3 stars; in theaters April 14.

“Mafia Mamma”: Predictable and good for a couple of chuckles only, this pointlessly gory star vehicle for Toni Collette weds “Married to the Mob” to “The Godfather.” Unwitting American Kristin (Collette) inherits a Don role in Italy once her grandfather gets rubbed out. Kristin ditches her job marketing pharmaceuticals and flees her cheating rocker hubby and then canoodles over pasta and wine with the Big Guys and even manages to noodle around with a hunk (Giulio Corso). But a rival mob is intent on getting rid of her. Monica Bellucci co-stars as Kristin’s de-facto assistant, but she’s not given much of anything to do. Collette is a talented actor and works overtime to pump up this flat tire of a screenplay, but it’s all for naught. “Mafia Mamma” hints at a better movie when it comments on the patriarchy, but those choice bits get lost in all the weird carnage and mediocrity. Director Catherine Hardwicke’s sense of visual style is there, but this one’s an offer you should refuse. Details: 2 stars; In theaters April 14.

“Summoning Sylvia”: Three gay besties whisk soon-to-get-hitched Larry (Travis Coles) away for a weekend bachelor romp and rather unwittingly conjure up unresolved spirits. Never scary but always enjoyable, this horror/comedy by writers and directors Wesley Taylor and Alex Wyse’s horror comedy bubbles like a champagne spritzer and overflows with an engaging, sometimes bitchy batch of characters and a cast (including Frankie Grande, Troy Iwota, Noah J. Ricketts, Nicholas Logan and Michael Urie) that aces every laugh-out-loud line presented to them. It’s low budget, but rates high in the laugh count. Could well become a cult classic. Details: 3 stars; available to rent on Redbox, Vudu, Amazon Prime and other streaming platforms.

“The Portable Door”: In this slight, occasionally involving bit of sorcery business, two interns (Patrick Gibson and Sophie Wilde) land jobs at an enigmatic corporation interested in profiteering from magic. Since the honchos in charge of this fantastical biz happen to be played by Christoph Waltz and Sam Neill, there’s fun afoot, but at nearly two hours, this one just wanders, taking forever to capitalize on that portable door. Even as I write this, “The Portable Door” goes all but poof in my memory banks. Details: 2 stars; available on MGM+.

Contact Randy Myers at [email protected].