It takes some getting used to, I admit, but eventually I got on a roll with Nina the Vampire Slayer in Kiersten White’s second Buffyverse novel, “Chosen” (January, hardcover). I should’ve braced myself for it after having read last year’s “Slayer,” but first-person present-tense writing is unusual enough that it’s still like getting a bucket of cold water to the face when you crack the book open.
Writer-director Jeff Wadlow, taking the reins from Matthew Vaughn, delivers a funnier and more focused “Kick-Ass 2” (2013). It’s formulaic, but that makes it better than the flailing 2010 original, the primary value of which is to introduce us to purple-haired Mindy/Hit-Girl (Chloe Grace Moretz) and green-suited Dave/Kick-Ass (Aaron Taylor-Johnson).
Let It Snow” (November, Netflix) comes from a 2008 novel co-written by coming-of-age chronicler John Green. It’s adapted by Kay Cannon (“Pitch Perfect”) and two other writers for this who’s-who of Gen Z actors. Although I only recognized Kiernan Shipka (“Chilling Adventures of Sabrina”) and Jacob Batalon (the best bud in the MCU’s “Spider-Mans”), the talent level is surprisingly high. Down the road, “Let It Snow” could play as a classic of young actors breaking out, except that the overall movie is too safe and predictable.
There were many ways “Good Boys” could go wrong, from over-reliance on the shock value of tweens dropping F-bombs, to kids who can’t act, to recycled “American Pie” gags. But this latest entry from writers Gene Stupnitsky (who also directs) and Lee Eisenberg – the writers of the underrated “Bad Teacher” (2011) – turns out to be both the raunchiest and cutest comedy of the year.
Ilove the way Javed (Viveik Kalra) loves Bruce Springsteen in “Blinded by the Light.” The Pakistani-British youth sings and dances in the street once he gets the Boss bug. He smiles when listening to the lyrics. He writes about the Boss for his school paper. He wins an essay contest and a trip to America by waxing poetic about Springsteen.
Although “Big Mouth” Season 3 (October, Netflix) ultimately delivers enough good episodes that I give it a soft recommend, it is a clear step back from its first two seasons. In the worst episodes, the writers get so caught up in their timely messages about sexual identity, dress codes and objectification of women that they forget to make those episodes funny.
After Melinda Metz’s 10-book YA series “Roswell High” (1998-2000) handed the baton to the TV series “Roswell” in 1999, Jason Katims and his writing team took the teens in a different direction from the books. So when the book line returned in May 2001 with Greg Cox’s “Loose Ends,” it was of course a tie-in with the TV series. Written as Season 2 was airing, and hitting bookshelves during the season’s homestretch (which is also when it takes place), “Loose Ends” became the first of 11 novels that fill in gaps and ultimately take the story beyond the end of the TV series.
With Season 2 (April), which recently wrapped its free-to-all run on YouTube Premium, “Cobra Kai” has secured its spot as the best continuation of a 1980s premise (a surprisingly robust genre lately). The safe, cheesy and sometimes flat-out bad (but yes, we loved it anyway) filmmaking of the “Karate Kid” trilogy has given way to a confident, funny, epic and ultimately heart-wrenching TV series.
As “Roswell” fans, we often lament that we only got three seasons. But a positive way to look at it is that we got two bonus seasons after the commercial failure of the first season, entirely because of the small-but-passionate fanbase. Season 1 is the only season where “Roswell” achieves greatness, and that’s the season that most sticks in my mind – and I’m guessing that’s true for other “Roswell” fans too. But the sequel seasons never sink so low that I regret their existence.
The eight-episode Hulu series “Looking for Alaska” shatters the Manic Pixie Dream Girl trope while also being one of the best MPDG stories ever told. Walking a delicate tightrope from start to finish, showrunner Josh Schwartz (“The O.C.,” “Gossip Girl”) – who writes or co-writes five of the eight episodes – gives us the teen male perspective of Miles “Pudge” Halter (Charlie Plummer). Through his eyes, Alaska Young (Kristine Froseth) is beautiful, quirky and mysterious. Yet — without sacrificing those ethereal qualities that Pudge might be projecting onto his first love/lust — “Looking for Alaska” also makes Alaska into a fully realized person.