Up in the Air (2009)

It’s 5:30 am. The baby’s crying, but you need to finish prepping for your big pitch at work that morning. What do you do? You do the near impossible: both.

Workin’ Moms, created by Catherine Reitman, is a Canadian-produced comedy series that follows four different moms as they try to balance their work lives and their families. Currently streaming on Netflix, the series dives deep into these characters, as new situations continuously put them to the test.

I knew nothing about this show prior to watching it. I heard it referenced on a podcast and one night when I was looking for something new to watch, I decided to give it a shot. Within the first five minutes, I was immediately hooked. I binged the first four seasons. Workin’ Moms is brilliantly written, and led by fantastic actors who have such an innate sense of comedic timing. It feels genuine, and the passion behind this series is palpable on screen.

First and foremost, I have so much respect for the work Catherine Reitman puts into this show. She created it, she writes and directs a lot of the episodes, and she plays the leading role of Kate Foster. She fearlessly puts herself out there in terms of what she does on screen. I had no idea until researching later that Catherine Reitman is the daughter of Ghostbusters (1984) director Ivan Reitman, and is the sister of Up in the Air (2009) writer/director Jason Reitman. They were already a talented family, to begin with, but adding in Catherine’s work only ups the ante.

There is no such thing as watching too many movies. I know that since my family and I have enacted social distancing, the amount of movies we’ve watched has skyrocketed. And if there can be a silver lining in the messiness and ugliness of the situation we’re all in right now, it’s that we have an opportunity to watch a lot of the movies that we’ve been meaning to watch and re-watch a lot of the movies that we’ve been meaning to re-watch. I know the other day I was looking through my Blu-ray collection and picked out the 1933 King Kong, a movie I’ve owned for about a year but never watched. It’s one of those movies I always said to myself, “Not now, I’ll watch it another time.” But because we’re stuck indoors with nothing to do, I finally said, “Screw it, it’s time to watch King Kong!” And I loved it!

With the popularity of my previous list (you can check it out here), I wanted to recommend another 19 movies for people to check out across Netflix, Amazon Prime, HBO Max, and Hulu. So here you are; go watch some movies! You can’t really go wrong with any of them.

1 | Apocalypse Now (1979) | Amazon Prime

Directed by: Francis Ford Coppola

Minor Spoilers Ahead

They say home is where the heart is, and Nomadland is all heart…if you project onto it, at least. Following a woman living in her van going from one temporary, minimum-wage job to the next, the film gives some insight into a world often hidden from the on-screen due to its often realistic and unromantic nature. When we watch movies, especially mainstream Hollywood ones, there is always a large amount of excess in both story and lifestyles. It's more “fun” to focus on the lives of rich and middle-class people where wealth possibilities are endless and the story doesn’t have to acknowledge class inequalities (which is one of the most glaring issues of American society). However, Nomadland doesn't shy away from this and gives light to a harder lifestyle that’s outside what is considered ideal: unstructured, singular, with few possessions, no white-collar career, and nomadic. Departing from what Americans have been conditioned to believe is the “right” way of life (marriage, 2.5 kids, a life-long 9 to 5, and faith in “the system”), Nomadland comes out at a great time to cover its themes of political inequality, the need for travel and freedom, and the grand uncertainty of life. Audiences get to experience pain and nostalgia without the dramatics of bourgeois life. Instead, they are given a look (not immersed though) into the simultaneous oppression and freedom in living outside the bounds of society. There is, though, an issue of representation that lingers throughout if this really is authenticity or playing poor for a faux self-awakening from the audience. The portrayal of job insecurity and poverty is framed more as an alternative lifestyle than an act of circumstance despite the recession being the main factor in the character’s life-altering change.

The incomparable Frances McDormand tells Fern’s story through a collection of images where we get to closely study her countenance and the emotions that bubble at its surface. Her hard face and reflective smiles can bring tears to your eyes since it allows for personal introspection to put on the film instead of hard-lined narrative meaning to be outwardly thrust upon viewers. She asks for patience and eventually does get it out of you when one finally gives themselves over to just experiencing rather than searching for a narrative (which admittedly is how our minds are conditioned to view films). Her chemistry with her love interest Dave is just as endearing, where they don’t get caught up in over romantic plans of star-crossed lovers. It addresses an often ignored reality among older peoples of wanting company with one another rather than needing some whirlwind romance. On the other hand, seldom do we even see older people (particularly older women) being madly in love and passionately excited for a romantic relationship. I suppose she learns to love herself and the freedom of not being tied down to anything — though she is still stuck to doing minimum wage jobs that often abuse their workers and do not provide a suitable amount to live off of.