The See It or Skip It crew returns with three big titles that’ll have you cheering in the theaters and crying on your couches. From witches with scores to settle, to surrogate family drama, to a slice of life in the early 20th Century, this week has something for everyone. Oh, and we’re delving into this season of The Real Housewives of Salt Lake City.

Rotten Tomatometer-Approved Film Critic Patrick Beatty is joined once again by Baconsale Podcast and UFCA Critic Kent Dunn, along with two special guests, Meg Walter and Eli McCann from the Hive Mind HQ podcast.

Grab your popcorn, cause this is going to be a barn-burner.

In Theaters

Wicked: For Good (PG-13)

The Wicked Witch of the West is back, and this time it’s personal. About 3 to 5 years have passed since the first flight of Elphaba, and she is now public enemy number one, with the entirety of Oz on the hunt, led by Madam Morrible, newly appointed Captain of the Guard, Fiyero, and Oz with his flying Monkeys.

But while the wanted posters multiply and fear spreads through every emerald alley, yellow path, a deeper truth begins to rise, and the fate of Oz balances on whether one witch can outrun her past long enough to rewrite her future.

I am a big fan of the first Wicked, so coming into this, I was eager to see them stick the landing and deliver on the promise of the last film. While I do think eventually they landed the bubble, it wasn’t without a few rough swerves in the sky. From what I understand about the Broadway musical that I am now eager to watch, fans all understand that the show is a bit front-heavy as far as impressive songs, dance numbers, and flow, and the back half, well, just doesn’t match that level until the showstopping song “For Good”.

Director Jon M. Chu and original composer Stephen Schwartz do include additional music specifically for this reason. I liked the music still, and Ariana Grande deserves recognition for how much she carried in this film and how impressive her performance is.

There is a decent amount of world-building that both tries to be integral to the story of Glinda and Elphaba, but also stays in the shadows. I think when it delved into those moments is when it’s at its weakest, particularly because of the pacing and lack of focus, which makes the scenes feel heavy and meandering. When the story drifts too far into tying in a different version of Oz, it loses the emotional pull that carries the heart of the film, which is Glinda and Elphaba.

It’s a bit of a mixed bag, but I had a good time clicking my heels in the theater. It doesn’t have the same punch as the first film, but the ending is powerful enough to make even the Tin Man’s heart skip a beat.

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Rental Family (PG-13)

What if you could find therapy by way of someone becoming a surrogate for you in your specific needs? Well then, Phillip might be the guy for you! He’s an expat who has been living in Tokyo for over 5 years as a struggling actor, who has just discovered a new career opportunity that requires him to impersonate someone in a client’s life that they wish to emotionally work through. As he becomes attached to the people he’s helping, Phillip will have to re-evaluate his career goals in the beautifully human story about connection.

This is an actual thing that exists in Tokyo. Due to the poor stigmas about mental health, many people will turn to this unconventional method of therapy to avoid the social pressure and judgment. As Director Hikari makes a point to tell the audience, “You can live here your whole life, and never understand everything”.

This is a warm blanket of a film, and exactly what Brendan Fraser does best as an actor. I loved his gentleness in the film as he navigates these situations and interactions, particularly with his “Daughter”, played by Shannon Gorman. I do think some of the ideas are questionable in regard to how the service is utilized and ethically what comes from that.

“Rental Family” moves with an honest pulse, a quiet study of loneliness and the strange ways we learn to soften it. It leans into the beauty of chosen family, showing how even the smallest moment of real connection can feel like peace arriving at your door, unannounced but needed.

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Sentimental Value (R)

After their mother’s death, Nora and Agnes are reintroduced to their estranged father, Gustav, a once‑glamorous filmmaker now desperate to make his next, most personal movie yet. Gustav wants Nora, an actress, to be the star of his new intimate story, which she flat-out refuses. But when Gustav settles on casting a new Hollywood starlet, old wounds resurface, and bitter memories grip the father and daughter in a beautiful exploration of family, love, and art as a way to show someone you’re true heart when everything else fails.

“Sentimental Value” shows how art and memory can wound and heal. It asks whether forgiveness is ever really about closure, or simply about being seen. As ambitions clash and old resentments surface, the film also delves into the push and pull of competitiveness. How success, recognition, and legacy can fracture relationships even as they inspire creation. At its heart, it’s a tender, raw look at the ways our past shapes us, the choices we carry, and the truths we want to acknowledge.

This is going to be one to watch out for this year in regards to Best Picture, Best Actor, and Best Actress.

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What’s Streaming?

Train Dreams (PG-13)

Journey back to the early 20th century, where we get a look at the life of Robert Grainier, a logger and railroad worker who finds himself in the industrial revolution. Based on the novella by Denis Johnson, and directed by ‘Sing Sing’ director Clint Bentley, this is a solemn look at the hardships of early Americana, a commentary on our planet’s resources, and a mournful character study brilliantly acted by Joel Edgerton.

There’s been an influx of movies coming out in the 4:3 ratio, but not really with any intention behind it. “Train Dreams” is one of the rare exceptions where I truly could immediately see the significance of the added top and bottom imagery, specifically when capturing the trees. Cinematographer Adolpho Veloso makes the trees look mythical, ancient, and beautiful. I was amazed by the natural beauty he was able to capture, and I think this is an easy pick for best cinematography this year for the awards.

The story is slow-paced and does not give way to too much hope aside from rare glimpses that go as quickly as they arrive. This is a meditation on grief with silver linings that remind us that to be human is to find joy where you can find it. It might not be the film for everyone, but it is brilliantly acted, and one I highly recommend.

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Did you see any of the shows reviewed this weekend? Leave a comment if so, and make sure to follow us on all our social media platforms and listen to the podcast on Apple Podcasts, Spotify, and more.