Wine Country (2019)

The cask, I mean, cast, has chreat gemistry (shout-out to the great supporting characters too) and just like how the wine prevailed (see the final scene) when Abby’s schedule failed, it’s whenever they’re allowed to just talk and play off each other that it all works really well–the drama is natural, the comedy on point–and it’s when it tries to shoehorn in a message (see the cringe-y art show bit) or create more of a structured plot (the beats are all pretty generic) that it falls apart.

Megamind (2010)

The script’s dialogue-based humour is inconsistent at best (the opening voiceover intro is cricket-worthy; Megamind and Metro Man’s cliche convo is funny: “Revenge is best served cold!” “But it can be easily reheated in the microwave of evil!”) but it’s helped by a great voice cast (Cross as earnest Minion tops the list), and the overarching premise offers both some quirky satire of the typical good guy vs. villain dynamic as well as, of course, a refreshingly nuanced look at the villain itself.

Mean Girls (2004)

The plot is conventional and a little unsatisfying and unrealistic near the end (see Cady taking all the blame, then making everything okay with one speech) but a lively script populated by plenty of memorable one-liners (“It’s like I have ESPN or something”), quirky side characters (see weary Mr. Duvall, gangsta math geek Kevin), and oddball asides (see the teens like animals bits) entertains, and the epilogue is touching (“All you can do in life is try to solve the problem in front of you”).