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      ‘Choose Love’ Review: Pick Your Own Cliché

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      This interactive Netflix rom-com lets viewers make choices on behalf of the main character, changing the story. But each path is banal.Netflix’s latest interactive movie, “Choose Love,” is an attempt to apply a dating simulator experience to a standard-issue rom-com. Its choose-your-own-adventure interface — like the one in the 2019 “Black Mirror” movie “Bandersnatch,” another Netflix production — allows viewers to make decisions for Cami Conway (Laura Marano), a young woman who suddenly finds herself having to choose between three suitors. The choices that viewers select with the click of a button (Should Cami kiss this man or dodge his advances? Should she wear this dress or that one?) will ultimately inform which guy she ends up with.Except, there’s not as much choice left to the viewer as meets the eye. The movie’s opening scene is a tarot reading where you get to help Cami decide whether she wants “good news” or “bad news” first. But either way, it’s the same set of cards. After a pleasant but banal double-date night with her long-term boyfriend, Paul (Scott Michael Foster), she runs into an erstwhile high school heartthrob, Jack (Jordi Webber), while dropping her niece off at school, learning that he’s now a professional photographer with humanitarian priorities. He takes pictures of children for charity.She meets her third suitor, a famous pop musician named Rex Galier (Avan Jogia), when he rents out space at the recording studio where she works as a sound engineer. Rex asks for her advice on a new track he’s producing, and — whether or not you pick “lie and say it’s good” or “brutal honesty” — he takes a liking to her expertise and asks her to record with him. Cami’s longtime dream of a singing career is reawakened, and she finds herself faced with three potential life paths: play it safe, reconnect with the one who got away or chase stardom with a famous beau.The interactive features in “Choose Love” more or less boil down to two or three pivotal scenes that determine which man Cami will spend her life with — and of course, as the credits roll, Netflix encourages you to go back and click a different button for an alternative ending. If only the film were compelling enough to warrant that.While “Bandersnatch” and Netflix’s other attempts at interactive storytelling, like the “Unbreakable Kimmy Schmidt” special “Kimmy vs. The Reverend,” were not without their flaws, their unpredictability — whether through dystopian thrills or comedic timing — kept the gimmick somewhat afloat. But the main selling point of “Choose Love,” directed by Stuart McDonald, seems to be that viewers get to pick which stale rom-com trope they see play out onscreen. Predictability aside, “Choose Love” resembles less of a comforting rom-com than it does the forgone conclusion to streaming’s algorithm-powered media: a series of disconnected, shallow interactions, each leading to a different predetermined cliché.Choose LoveNot rated. Running time: 1 hour 17 minutes. Watch on Netflix. More

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      ‘The Mountain’ Review: Stone-Faced in Nature’s Splendors

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      In this drama directed by and starring Thomas Salvador, an urbanite plunges into treacherous conditions.Thomas Salvador’s “The Mountain” is a lightweight parable about a man who abandons modernity to connect with the earth. On impulse, a Parisian robotics engineer named Pierre (Salvador, who also wrote the script with Naïla Guiguet), extends a work trip to scale France’s snow-capped Mont Blanc. “I can’t resist,” he says, and for a while the film plays like a silent comedy about a transcendence junkie itching for a fix. Pierre’s cable car is too crowded, his new ice crampons look silly alongside other tourists in tees, his scenic glacier-top tent is hemmed-in by more tents. Nevertheless, he prefers not to rejoin civilization — he’s Bartleby the Backpacker, holding out for something he can’t explain.Though this is a story about an urbanite plunging into treacherous conditions, the camping itself appears easy. Pierre looks impressive scaling cliffs. “A change from the climbing gym,” he says placidly. It’s equally incredible that, when the weeks begin to blur, he maintains his neat goatee without ever appearing to shave — and even catches the eye of a quixotic resort chef (Louise Bourgoin) despite having the conversational skills of a rock.Truly communing with nature, however, proves difficult. That is, until the film’s one surprise, a hallucinatory twist which comes so long after the audience has been lulled into the quiet contemplation of snow and clouds that it almost feels like we, too, might be low on oxygen. Some might see the final act as body horror. To the director, it’s a metaphysical sacrament — and all along, his camera has hinted that mankind must commit to the planet before it’s too late.The MountainNot rated. In French, with subtitles. Running time: 1 hour 53 minutes. In theaters. More

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      Venice Film Festival Finds Drama Without Zendaya

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      Day 1 brought challenges but not “Challengers,” the film that had been scheduled to open this usually starry event until it was delayed by the strikes.The sky in Venice wept on Wednesday, for there were no pictures to be taken of Zendaya in couture clambering from a speedboat.No? Too much? Well, it’s hard not to sound melodramatic at a film festival where the movies are big but the mood swings are even bigger. Let me clear my throat, take a swig of this Aperol spritz, and start again …The 80th edition of the Venice Film Festival kicked off on this rainy Wednesday with several big-name auteurs in attendance but few of the stars that this event has come to count on. With dual strikes by the writers and actors guilds forcing a Hollywood shutdown, and the actors forbidden from promoting studio films during the labor action, Venice will inaugurate a fall film season that is still in significant flux.The first day was meant to be turbocharged by the presence of Zendaya, who turned heads here two years ago in a series of stunning dresses while publicizing the first installment of “Dune.” But the shutdown cost Venice the new film she stars in, Luca Guadagnino’s “Challengers,” in which she plays a tennis pro who has to make a romantic choice between two best friends, played by Josh O’Connor and Mike Faist (the cheeky marketing materials tease that on at least one night, she chooses both).Without its lead available to support the film, MGM delayed the release of “Challengers” to spring 2024 and yanked it from the Venice lineup. Taking its place as the festival’s opening-night film was “Comandante,” a World War II film told from the point of view of Italian submariners. While it’s well-shot and full of suspenseful battle sequences, “Comandante” features exactly zero tennis hotties contemplating a threesome, which may hinder its ultimate appeal with a Venice audience that was promised starry romantic high jinks.Though the festival’s artistic director, Alberto Barbera, admitted at a news conference on Wednesday that the likes of Emma Stone (“Poor Things”) and Bradley Cooper (“Maestro”) will not be attending Venice because of the strike, other actors who hail from more independent productions have managed to secure guild waivers, including “Ferrari” star Adam Driver, “Memory” lead Jessica Chastain, and the cast of Sofia Coppola’s “Priscilla.” They’re expected to show up on the Lido this week alongside a posse of high-powered directors that includes David Fincher (“The Killer”), Ava DuVernay (“Origin”) and Richard Linklater (“Hit Man”).Still, the strikes loom large. At Barbera’s news conference, the jury president, the filmmaker Damien Chazelle (“La La Land”), dressed for maximum solidarity, donning a “Writers Guild on Strike!” shirt and a similar button on the lapel of his sport coat. He noted that as of Wednesday, the writers had been on strike for 121 days, with the actors joining them for the last 48 days, and he called on studios to compensate those artists fairly.“I think there’s a basic idea that each work of art has value unto itself, that it’s not just a piece of content, to use Hollywood’s favorite word right now,” Chazelle told reporters, adding that that idea “has been eroded quite a bit over the past 10 years. There’s many issues on the table with the strikes, but to me, that’s the core issue.”Chazelle was joined by the directors Martin McDonagh and Laura Poitras, who both wore shirts supporting the Writers Guild. They are part of a jury that includes the filmmakers Jane Campion and Mia Hansen-Love, among others.“I’m not sure I entirely deserve this spot, but I will do my best to live up to it,” Chazelle said. “I thank Mr. Barbera for his foolishness in letting me try it out.”Though Chazelle has been to Venice a few times before, to debut “La La Land” and his follow-up, “First Man,” he said he still found the place quite surreal. “That fact that you take a boat to a screening, it’s silly,” Chazelle said. “Cinema, to me, is a waking dream and that, to me, is Venice.”See what I said about melodrama? When you’re in Venice, where even the paint peels in the most picturesque way, you just can’t help yourself from indulging. That’s how your columnist felt last night in the rain, mulling over two of the worst disasters to hit Italy in quite some time: St. Mark’s Square was flooded, and there was no Zendaya. But at least the sun will come out tomorrow here, as will the new films by Michael Mann and Wes Anderson. More

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      Venice Film Festival 2023: What to Watch For

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      New films from David Fincher, Sofia Coppola, Ava DuVernay and Michael Mann will make up for the absence of stars kept away by the Hollywood strikes.A year ago, the Venice Film Festival had enough star power to put even celebrity-worshiping Cannes on notice. Highlights were quickly beamed all over the world, including the notorious “Don’t Worry Darling” kickoff that fueled endless speculation about the film’s director, Olivia Wilde, and her stars Florence Pugh and Harry Styles; the news conference where an unexpectedly sagacious Timothée Chalamet predicted imminent societal collapse; and the tearful Brendan Fraser comeback that began on the Lido and culminated in his best actor Oscar win.But without all of those celebrities, can Venice still go viral?The 80th edition of the festival, which begins on Wednesday, will be significantly affected by continuing strikes by the Screen Actors Guild (or SAG-AFTRA) and the Writers Guild of America, since the actors’ union has instructed its members not to do press for any studio movies until the strike against those companies is resolved. That puts Venice in a bind, as it’s regarded as one of the best places for Hollywood to unveil starry awards-season titles. Few major actors will even be permitted to attend this year.The actors’ strike has already cost Venice its original opening-night film, Luca Guadagnino’s sexy tennis romance, “Challengers,” since MGM delayed it from September to spring in the hopes that its lead, Zendaya, will be allowed to promote it several months from now when the strikes might be resolved. (A low-profile Italian film is opening instead.) And I’ve heard of a few more starry fall films that were earmarked for Venice but opted for the Telluride Film Festival instead, since that event is less driven by the photo ops and news conferences that are no longer feasible in Italy.Despite some of those trims, the Venice lineup is still enticing, with an auteur-heavy list featuring directors nearly as famous as their leads. And Venice has proved before that it can adapt to unfavorable limitations: Amid the pandemic in August 2020, the festival opted for a smaller, partly open-air edition that still went on to premiere the eventual winner of the best picture Oscar, “Nomadland.”Emma Stone, left, and Mark Ruffalo in “Poor Things,” from Yorgos Lanthimos. Atsushi Nishijima/Searchlight Pictures, via Associated PressThis year’s program includes two films about assassins-for-hire: David Fincher’s new thriller, “The Killer,” stars Michael Fassbender, while Richard Linklater’s “Hit Man” features the “Top Gun: Maverick” breakout Glen Powell, who also served as a co-writer. I’m curious about the off-kilter comedy “Poor Things,” directed by Yorgos Lanthimos (“The Favourite”) and starring Emma Stone as a sexually curious Frankenstein’s monster. Ditto “Maestro,” Bradley Cooper’s second directorial effort, after “A Star Is Born.” He’s cast himself as the composer Leonard Bernstein, opposite Carey Mulligan as Bernstein’s wife, Felicia, and his decision to wear a prosthetic nose has already set off controversy.Baz Luhrmann’s “Elvis” was a big hit last year, but what will that story look like through Sofia Coppola’s lens? The “Lost in Translation” and “Marie Antoinette” director puts her spotlight on Elvis Presley’s wife with “Priscilla,” featuring Cailee Spaeny as teen bride Priscilla Presley and the “Euphoria” star Jacob Elordi as the singer. Ava DuVernay has adapted the Isabel Wilkerson book “Caste” for her new film, “Origin,” which stars the Oscar nominee Aunjanue Ellis in an examination of racism and systemic oppression. And though Michael Mann has secured a guild exemption that would allow the cast of “Ferrari” to promote it in Venice, I’m curious whether his new film’s press-shy lead, Adam Driver (as the racer-turned-car-magnate Enzo Ferrari), is willing to do a full-blown media blitz for the movie, which the hot indie studio Neon is releasing in theaters on Christmas Day.Two years after the release of his Oscar-winning breakthrough “Drive My Car,” the director Ryusuke Hamaguchi returns to the festival circuit with “Evil Does Not Exist,” which originated as a dialogue-free short and became a feature-length film about ecological collapse. And two months after releasing his feature-length “Asteroid City,” the director Wes Anderson is opting for something shorter with “The Wonderful Story of Henry Sugar,” a 37-minute Roald Dahl adaptation for Netflix.Harmony Korine premiered his biggest film, “Spring Breakers,” at Venice back in 2012, and he’ll return with the mysterious “Aggro Dr1ft,” which stars the rapper Travis Scott and was shot solely using infrared photography. He’s not the only director taking chances: Pablo Larraín, the director of “Jackie” and “Spencer,” has set the divas aside for a moment to make “El Conde,” a black-and-white supernatural fable that reimagines the Chilean dictator Augusto Pinochet as a bloodsucking vampire.And then there are the chances that Venice itself is taking when it comes to three auteurs: It is premiering “Dogman” from Luc Besson, who was accused of sexual assault but cleared by prosecutors; “The Palace” from Roman Polanski, who was convicted of unlawful sex with a minor but fled before he could be sentenced; and “Coup de Chance” from Woody Allen, who has denied sexual abuse accusations by Dylan Farrow, his adopted daughter.Venice will also serve as an elegy of sorts for the director William Friedkin, who died earlier this month and whose final film, the naval drama “The Caine Mutiny Court-Martial,” will premiere posthumously on the Lido. Adapted by Friedkin from the Pulitzer Prize-winning novel by Herman Wouk, it stars Jake Lacy and Kiefer Sutherland. More

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      What’s on TV This Week: ‘Claim to Fame’ and ‘Family Law’

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      The ABC reality show hosted by Kevin and Frankie Jonas wraps up, as does Canadian legal drama on the CW.Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, Aug. 28-Sept. 3. Details and times are subject to change.MondayCLAIM TO FAME 8 p.m. on ABC. While Kevin Jonas tours with his other brothers (the Jonas Brothers), and Frankie Jonas is up to his usual TikTok shenanigans, the show they co-host, about people who have a celebrity relative, is coming to an end. After a season of challenges, detective work and the elimination of relatives of former President Jimmy Carter, Dolly Parton and Jenny McCarthy, there are four celebrity relatives left to uncover. Even though we have our suspicions (*cough* Gabe is related to Nick Cannon *cough*), some contestants like Monay have held tightly to their secret relation. On Monday, all will finally be revealed.STARS ON MARS 8 p.m. on Fox. What happens when you send some “celebranauts” (Fox’s wording, not mine) into a Mars simulation? This week we are getting the answer, as Porsha Williams Guobadia, Cat Cora, Tinashe, Paul Pierce and Adam Rippon compete to assemble a satellite tower and broadcast a message back to Earth. The stakes couldn’t be lower, as obviously they aren’t really on Mars.A still from “Once Upon a Time in Northern Ireland.”ALAMY/Alain Le GarsmeurONCE UPON A TIME IN NORTHERN IRELAND 9 p.m. on PBS (check local listings). From the late 1960s to the late 1990s, Northern Ireland saw no shortage of nationalist and sectarian violence. This new documentary series combines archival footage with profiles of people who lived through the conflict.TuesdayJUSTIFIED: CITY PRIMEVAL 10 p.m. on FX. This show is a sequel to “Justified,” with Timothy Olyphant returning as Deputy U.S. Marshal Raylan Givens. This time Givens is joined by his daughter, played by Olyphant’s real-life daughter Vivian Olyphant. The show takes place in Miami, 15 years after Givens left Kentucky. This eighth episode wraps up the first season.WednesdayA computer screen showing the Ticketmaster website.Joe Raedle/Getty ImagesSOLD OUT: TICKETMASTER AND THE RESALE RACKET 11 p.m. on Vice. If you, too, tried and failed to get tickets to Taylor Swift’s tour this year, you are no stranger to mayhem in concert sales. This Vice documentary follows malicious brokers who buy face-value tickets and sell them for much more — and how a Ticketmaster and Live Nation monopoly allows them to get away with it.ThursdayTHE GRAPES OF WRATH (1940) 9:45 p.m. on TCM. Based on the novel of the same name, this movie follows the Joad family as they head to California to start a new life after their farm in Oklahoma was seized by the government. “What we’ve been trying to say is that ‘The Grapes of Wrath’ is just about as good as any picture has a right to be; if it were any better, we just wouldn’t believe our eyes,” Frank S. Nugent wrote in his review for The New York Times.FridayFAMILY LAW 9 p.m. on The CW. This Canadian law drama has followed Abigail Bianchi (Jewel Staite) as she rehabilitated herself and her image after showing up to court drunk. This season she has continued to work at the family practice, Svensson and Svensson, while managing her crumbling marriage. The finale will put that all into perspective as she has to choose between her family’s law firm and a lucrative offer at her former firm.SaturdayTopher Grace, left, and George Clooney in “Ocean’s Eleven.”Warner Bros., via Everett CollectionOCEAN’S ELEVEN (2001) 8:30 p.m. on TBS. This movie gave us three rules to live by, or keep while committing crimes: “Don’t hurt anybody, don’t steal from anyone who doesn’t deserve it, and play the game like you’ve got nothing to lose.” The story follows Danny Ocean (George Clooney), Rusty (Brad Pitt) and their friends as they plan a heist from a casino owner who is not-so-coincidentally the lover of Danny’s ex-wife, Tess (Julia Roberts). Watch for the truly random foods — popcorn, fruit cup, lollipop? — that Brad Pitt’s character is eating in each scene.SundayTHE INCREDIBLES (2004) 6 p.m. on Freeform. This animated movie about a family of superheros who try to keep their individual superpowers under wraps gave us some amazing characters: Jack-Jack (the bizarrely strong baby of the family), Frozone (everything he touches can turn to ice) and Edna Mode (“My God, pull yourself together!”). “‘The Incredibles’ may resonate more strongly with adults than with children, as it is, at its heart, a story of midlife frustration and compromise, examining the toll that unfulfilling work can exact on a marriage, and the heady rebirth that professional satisfaction can bring,” A.O. Scott wrote in his review for The Times. If you can’t get enough of this superhero family, INCREDIBLES 2 (2018) is airing immediately after on the same channel. More

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      At This Movie, Their Phones Won’t Bother You. Their Barking Might.

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      A cinema chain in Britain is welcoming dogs to select screenings. They don’t need their own tickets, and they don’t need to turn off their cellphones.Kab, a 2-year-old Doberman wearing a blue bandanna, is noticeably anxious.Sometimes called “cupcake,” he is roughly the size and weight of a teenage boy and has the energy to match. At the moment, he is being led around the courtyard of a cinema in East London by one of his owners, Luisa Fulcher, to walk off his jitters and allow for one last bathroom break before he and a handful of other dogs settle in for something unusual: their first moviegoing experience.Last weekend, Curzon Cinemas, a chain with 16 locations in Britain, began allowing dogs to attend select movie screenings with their owners, starting with “Strays,” an expletive-laden, live-action comedy that follows a group of dogs (voiced by actors including Will Ferrell and Jamie Foxx) that unite to seek revenge on an owner.Luisa Fulcher, center, and her dog Kab were among the attendees at Saturday’s screening. “Nowadays pets are part of the family,” she said.Mary Turner for The New York TimesLondon is a paradise for pooches, which are regularly found at the feet of their owners at restaurants, pubs, on trains and in many other public places. Movie theaters may be next to welcome dogs, thanks in part to the pandemic.In Britain, which has a population of about 67 million people, there are an estimated 11 million pet dogs, according to a report this year by the People’s Dispensary for Sick Animals, a veterinary charity. Pet ownership surged during the pandemic, and now that workers are being encouraged to return to the office, some pets and their owners are struggling with the transition.“A lot of people got dogs during the pandemic, and they want to come and see a film with their dog,” said Jake Garriock, the head of publicity at Curzon. He said the new screenings were part of a larger program designed to let customers watch films in ways that best suit them, such as screenings for infants that feature reduced volume and increased lighting.For now, Curzon is allowing dogs of any breed at only one screening a week, at only one of the chain’s London locations, said Mr. Garriock. (And no, separate tickets are not required for dogs.) They’re not allowed on the seats, and their owners must clean up any accidents.Curzon is not alone in welcoming dogs. Picturehouse Cinemas, another British chain, has offered pup-friendly screenings since 2015, and there are numerous independent movie theaters in Britain that do so. (Most cinemas, however, allow only service dogs.)Back outside the theater, Ms. Fulcher said she had brought a bone for Kab, who was now whimpering for attention and playfully jumping on this reporter.Rebecca Minty and her dog, Lottie, also attended the screening.Mary Turner for The New York Times“I think that it’s a great idea because nowadays pets are part of the family,” she said of the theater’s new screenings. “They are not just pets anymore. It’s like your little baby.”For other dog owners, the screenings provide a new freedom. Ziad Dajani said he and his partner had not been to the movies together in four years because of Tarçin, their 8-year-old Australian Labradoodle, who suffers from separation anxiety. “We’re his hostages, basically,” Mr. Dajani said. “So we can’t leave him alone for a minute. Someone has to be with him all the time.”Standing in line to purchase snacks for the screening were a few other dog owners, including Rebecca Minty and her daughter. With them was Lottie, who was lying on the floor and not particularly bothered by anything or anyone. Ms. Minty said Lottie, a 7-year-old working cocker spaniel who does not work, was taken on a long run before coming to the theater in an effort to keep her calm.Inside, the screening was like any other, except for the rustling of collars and the occasional bark. The movie’s sound level was also dialed back.“It’s vital that cinemas reduce the sound at dog-friendly screenings, otherwise the volume could cause them distress and even pain,” Dr. Katherine Polak, a veterinarian and a vice president at Humane Society International, said in a statement. “In principle, it’s similar to cinemas that offer baby-friendly screenings that also reduce sound and accept that some level of disruption is likely.”Paget Fulcher, Kab’s other owner, said after the screening that Kab had behaved well despite the challenges. “Most of the time, he was laying down on the ground, playing with a toy that we brought for him,” he said. “It was all good. Nothing bad happened. I think we’re very happy with how it went.”A dog’s behavior at home offers clues as to how the animal might handle a movie screening, according to Graeme Hall, a British dog trainer known as “The Dogfather” who hosts the Netflix show “Dogs Behaving (Very) Badly.”“Some dogs seem to like watching the television, and some dogs don’t notice,” said Mr. Hall, who advised monitoring a dog for signs of stress, including making sounds, yawning, licking their lips and pinning back their ears.Mr. Spandley and his dog Jeff leaving the cinema (for which Jeff did not need a ticket).Mary Turner for The New York TimesHe also said dogs take their cues from their owners. “We know for a fact that dogs are constantly looking at our facial expressions and body language, the little sounds we make, even our breathing patterns,” he said. “If you’re having a good time, there’s a very good chance that your dog will pick up on that.”Mr. Garriock acknowledged that not everyone might enjoy going to a movie with dogs in the audience.“Obviously, there’s plenty of screenings where they won’t be interrupted by dogs,” he said. “If you like cats, then you can head to one of the other screenings.” More

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      What Hollywood Gets Right and Wrong About B’nai Mitzvah

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      The Jewish ceremony can be the setting for a sharp look at growing up. But it has too often been used for glosses that ignore the rite’s deeper meaning.In the Jewish faith you become an adult at the most awkward possible moment: when you turn 13. Sure, in the eyes of God and your Hebrew school, you are mature enough to read from the Torah and embrace the responsibilities of grown-up life. But in reality you’re probably a scared kid for whom true maturity is far off, despite all those uncomfortable hormones.That was the case when I was bat mitzvahed in 2013 — mortifyingly (but also with a hint of pride) getting my first period shortly before the event — and that’s the case in the new Netflix film “You Are So Not Invited to My Bat Mitzvah,” based on the 2005 young adult novel by Fiona Rosenbloom.The movie, directed by Sammi Cohen, is the story of Stacy Friedman, played by Sunny Sandler. (Sunny is the daughter of Adam Sandler, who plays her dad in the film. Her real life-sister, Sadie, has been cast as her movie sibling, Ronnie. Their mother, Jackie Sandler, also in the cast, portrays a different girl’s mom — the role of Stacy’s mom went to Idina Menzel, who played Adam’s wife in “Uncut Gems.” Got all that?)Stacy has long dreamed of a blowout bat mitzvah alongside her best friend, Lydia Rodriguez Katz (Samantha Lorraine), but the messy realities of middle school meddle with their party plans. There are ill-advised crushes, moments of embarrassing flirtation and the kind of humiliating cruelty that only a 13-year-old with a grudge can muster. Eventually, Stacy takes the bimah at her bat mitzvah to read her Torah portion, and she learns the kinds of life lessons that come when you’ve emerged from the navel-gazing cocoon of youth.Sunny Sandler in “You Are So Not Invited to My Bat Mitzvah.” The film is based on the novel by Fiona Rosenbloom.Netflix“You Are So Not Invited to My Bat Mitzvah” proves, as other movies and shows have before it, that when a bar or bat mitzvah is depicted onscreen, it can often be a savvy vessel for exploring the funny, strange or even traumatic transition from childhood to teenagedom.“Figuring out, who am I, who I want to be — such a Jewish experience,” Cohen, who uses they/them pronouns, told me in an interview, adding that it’s “also just a human experience.”“We don’t all have a bat mitzvah,” she continued, “but we all feel awkward when we have to step out in front of our friends and family and try not to make a mistake.”At the same time, Hollywood can get too caught up in the lavish spectacle of these affairs, with depictions that sap them of their cultural or emotional significance in favor of gags about the superficiality of the post-service party. The spoiled bar or bat mitzvah boy or girl is a trope that comes up repeatedly. In a 2000 “Sex and the City” episode, Samantha (Kim Cattrall) faces off against a rich brat (Kat Dennings) who is hiring a publicist for her bat mitzvah party. “I want it all, I want it now, and I want you to get it for me,” the girl says.During a 2012 episode of “30 Rock,” Tracy (Tracy Morgan) and Jenna (Jane Krakowski) humiliate themselves at a bar mitzvah playing Transformer robots for the demanding son of their accountant. The films “Starsky & Hutch” (2004) and “Safe Men” (1998) found gags in criminals attending bat and bar mitzvahs.From left, Jami Gertz, Jeremy Piven and Daryl Sabara in “Keeping Up With the Steins” (2006). Financial anxiety is a common theme of bar or bat mitzvah movies.Eric McCandless/Miramax FilmsThe b’nai mitzvah party gone wild — celebrating a bat or bar mitzvah — is another staple of the genre. “Keeping Up With the Steins” (2006), directed by Scott Marshall, starts from a place of absurdity with an outlandish “Titanic” movie-themed soirée attended by the Fiedler family. The dad, an “Entourage”-era Jeremy Piven essentially playing a flavor of Ari Gold, does all he can to match the grandiosity of that event for his son. In the process he reconnects with his own father (Garry Marshall), a reunion facilitated by his child (Daryl Sabara). It’s a thin narrative that uses the hook of the over-the-top bar mitzvah for a trite family tale.Financial anxiety is a feature of similar narratives, and it is possible to find nuance in the strange mix of faith and capitalism that b’nai mitzvah spur in Jewish American culture — mostly when the writers, directors and performers lean into what a confusing time it is for the teenagers for whom these ceremonies are ostensibly intended.Sami Rappoport as Becca, a popular girl entering her bat mitzvah reception on “Pen15.” The episode focuses on a gentile’s experience of the event. HuluThe Hulu series “Pen15” is a masterpiece of discomfort — augmented by the fact that its creators and stars, Anna Konkle and Maya Erskine, are 30-something actors playing 13-year-olds in middle school. Their characters are not Jewish, but the gawky unease they cultivate is on full display during the episode chronicling the bat mitzvah of a popular girl named Becca (Sami Rappoport), a moment that coincides with their class learning about the Holocaust. The lesson about genocide makes Anna (Konkle) contemplate the very existence of God. The occasion brings on a different kind of unease for Maya (Erskine), who is desperate to impress Becca with a fancy gift despite the fact that it’s a stretch for her parents. “Pen15,” which takes place in the early 2000s, nails the cringe-worthy elements of bat mitzvah-going, whether it’s Becca entering her party belting a song from “Damn Yankees” or the mechanical slow dancing. But at the same time it explores how fraught the tradition can be when it comes to social class.Still, the episode focuses on an outsider’s experience of a bat mitzvah, not an actual Jew’s. So does Cooper Raiff’s 2022 directorial effort, “Cha Cha Real Smooth,” in which he also stars. It’s a bar mitzvah movie with thin acknowledgment of Jewish tradition. Raiff’s aimless college grad Andrew — who is not Jewish — gets a job as a party starter for b’nai mitzvah receptions. It’s a good backdrop for Andrew’s own insecurities; he knows just as little about life as the much younger people around him. But it’s also just that: a backdrop.Cooper Raiff, director and star of “Cha Cha Real Smooth,” another view of the event from an outsider’s perspective. Apple TV+To find a movie that incorporates a bar mitzvah in the fabric of its Jewishness, look to the Coen brothers’ “A Serious Man” (2009), a chronicle of Larry Gopnik (Michael Stuhlbarg), a professor in 1967 Minnesota. Larry’s son Danny (Aaron Wolff) gets extremely stoned before his bar mitzvah. It’s the kind of stupid thing a little twerp would do, but the disorienting way the Coens film this sequence — with fuzzy visuals and oblique angles — feels like an introduction to a faith of questioning that can itself be disorienting, especially as Danny meets with the aged Rabbi Marshak (Alan Mandell), who starts reciting Jefferson Airplane’s “Somebody to Love” as a prayer.For an even bleaker depiction, there’s Todd Solondz’s “Life During Wartime” (2010), where the bar mitzvah of Timmy (Dylan Riley Snyder) coincides with horrific realizations about his father. Timmy’s perception of becoming a man, as he describes in a speech he’s writing for the occasion, is standing up for yourself even if it means getting “just plain tortured.” Solondz’s view is clear: Growing up is pain. There’s less of an engagement with the nature of Judaism here than there is in “A Serious Man,” but Solondz scores sequences with Avinu Malkeinu, a Jewish prayer of repentance usually uttered on the High Holy Days, which serves as a reminder of the human failure on which the director fixates.Aaron Wolff, center, as a bar mitzvah boy who gets stoned before going on the bimah in “A Serious Man.”Wilson Webb/Focus FeaturesIt’s hard to get darker than what Solondz delivers, but even some of the cheeriest b’nai mitzvah stories can have a touch of the grim. In “You Are So Not Invited to My Bat Mitzvah,” Stacy lashes out at Lydia over a boy, spreading gossip about her and making an embarrassing video that ends up being played on Lydia’s big night. Her petulant acts may seem minor but they have real stakes, as anyone who has ever been betrayed by a friend knows. “Real kids are complicated and messy,” Cohen told me.And it’s true. I have warmly nostalgic memories of my own bat mitzvah that are mixed up with more complicated feelings. I think about a connection to faith that I let lapse and relatives who are no longer alive. I think about the friends with whom I have lost touch. I remember the world in front of me and it being exciting but also so scary. That’s the thematic potential in a b’nai mitzvah, and it’s nice to see that occasionally filmmakers get it right. More