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"EXterminators" is a film that explores the possibility of putting angry, violent women in the same room, leading to something worse than bad. A four-legged pest control business becomes the front for "two legged vermin" extermination. The film's screenplay is filled with black comedy, but only occasional scenes display dark humor. The clever plot never really blossoms, as everything is too restrained.

"ExTerminators" is one of the funniest and under-rated films I have seen in recent years. Jennifer Coolidge rocks as usual, making this film what it is. She is just funny with meaning to be or at least in a very unpretentious way. The soundtrack also compliments this movie completely. The story offers continuous laughs and keeps your attention. It has some very surprising takes along the way and keeps you guessing what's next. The film is about a woman named Alex (Heather Graham), who loves to help out people and may have married a man she supports and doesn't work for. One day, Alex comes home from work to find her husband cheating on her. Without any explanation needed, this ends the marriage, leaving Alex feeling bitter and upset. A few weeks later, while shopping at the grocery store, a random male approaches her and takes the pie that Alex was planning to purchase. Alex informs the man that she was going to buy that pie, and the guy responds by stating, "I don't see your name on it." Upset by the response, Alex punches the guy and is arrested. Alex then has to attend an anger management class where she meets Stella (Jennifer Coolidge) and Nikki (Amber Heard), who have their history of anger issues pertaining to men. What happens next has to be seen to be believed, but the three women go into business to become the ExTerminators. "ExTerminators" is a terrible title for a film. If the film had the right director and writer on board, it could have been a pretty funny film. However, it turned into something that I feel I would see on Lifetime. The first problem I had with the film was that it made every male in this movie out to either be a jerk or completely clueless. That element alone made the film feel like a Lifetime movie. Alex's husband is a user and a cheater, another guy is a woman beater, and all the other men in this film are all the typical college guy stereotypes who just grab female asses. Even the good guy in this film was portrayed as stupid. The second issue I had with the film was the whole subplot of the film, which involved an IRS agent named Hutt (Sam Lloyd). Hutt began investigating Stella's business, which ironically is an exterminator business. As the story develops, everything seems to be simple and unexplained. The cops didn't even investigate through the film. I liked Heather Graham in this role, but the script was weak and the characters weren't well written. Amber Heard was unrecognizable in the film and was good in the role, although she was a bit too over the top at times. The acting by the leads was decent, but all the smaller supporting roles were horrible, including the guy who played Hutt.

In conclusion, "ExTerminators" is a direct-to-video film that truly deserves the title. While the premise could be funny, it fails to produce any real laughs. The direction is sloppy and the writing is poor. Graham, Coolidge, and Heard do their best to make the film watchable, but due to the poor character development, they couldn't do much.

Wine Country, a Netflix comedy directed by Amy Poehler, follows a group of friends who are planning a weekend getaway to celebrate a birthday in Napa Valley, California. The film is inspired by a 2016 getaway and follows the group as they drink and riff off each other. The film has a naturalistic tone with a refreshing lack of indulgence, which can be afflicting comedies populated by real-life friends. The film is loose, yet disciplined, avoiding those rambling Apatowian scenes of improv that can feel boringly protracted. The women in Wine Country are self-confessed nerds, and the women's drinking doesn't lead to an escalation of raucous trailer-ready moments. The women are self-confessed nerds, and Gasteyer suggests they all micro-dose MDMA, an idea that falls flat with a chorus of disinterest. Conflict does arrive, but there's a well-observed buildup with a sharp series of scenes where the women pair off to casually criticize each other. The script from Spivey and Liz Cackowski refrains from offering us a clear antagonist, each woman a believable balance. When the script does try to force a more conventional narrative, creaks can be heard, especially in an underwhelming sequence of physical comedy near the end. Starry cameos are kept to a minimum, and while Cherry Jones's grim-minded tarot card reader is a hysterically funny inclusion, Jason Schwartzman's paella-obsessed chef is far less successful, sucking the comedy out of the film when on screen. Tina Fey's gruff local falls somewhere between the two, at times feeling miscast and at others, making you wish she had more screen-time. Wine Country is scrappy and, at times, misjudged but it's also very, very funny with a cast of women whose collective charm makes the patchier moments forgivable. Watching it with wine helps, too. The fact that Wine Country is about a group of women approaching or surviving their 50s makes it depressingly unusual. The post-Bridesmaids uplift in films about female friendship has been slight, and the films since have quite often focused on either younger women (see: Rough Night, Someone Great and Ibiza) or older caricatures (see: Book Club and the upcoming Poms). There's a comfortable embrace of ageing in the film that goes a bit deeper than jokes about menopause, each character increasingly aware of their mortality. In summary, Wine Country is a wine-soaked gem that showcases the combined talents of its seven main stars and two main writers, proving that Saturday Night Live has been a fertile breeding ground for comedy in the last 45 years. The film is scrappy and, at times, misjudged, but it's also very, very funny with a cast of women whose collective charm makes the patchier moments forgivable.

Tyler Perry's movie Nobody's Fool is a mix of two films: a bull-in-china-shop romp and a rom-com. The first film, which is not considered a good movie, sneaks out a side door while nobody is paying attention, and its replacement, a phoney-as-hell rom-com, makes the entire enterprise feel about three hours long. Film One isn't what you'd call a good movie, but it has its pleasures, especially after seeing Tiffany Haddish's energies deployed so sparingly in the recent Night School and The Oath. Handdish plays Tanya, the black-sheep sister of Sumpter's overachieving ad executive Danica. On the day of Tanya's release from prison, her mother declares she won't be allowed to return home to New Jersey. She's sent to stay at Danica's luxurious Manhattan apartment until she gets on her feet. Danica is ready to give her sister a makeover and hold her hand through a job search, but the search is over before it begins. Frank, the proprietor of Danica's regular coffee joint, offers Tanya a job on the spot, and she's a year into a long-distance relationship with Charlie (Mehcad Brooks), a man she met online and still hasn't seen in the flesh. Everyone but Danica is convinced that Charlie is not who he claims to be. Paramount Pictures' parent company Viacom owns MTV, which happens to have a show based on this very phenomenon. In a shameless bit of corporate synergy, Tanya reaches out to Nev Schulman and Max Joseph of Catfish: The TV Show, who investigate, and things do not end well for Danica. Nobody's Fool shifts focus from Tanya to Danica, who takes center stage. This shift may benefit Hardwick, whose Frank is finally taken seriously as a romantic prospect. However, the film has several indignities left to dump on Frank, and the actor struggles to retain his dignity. The movie focuses on Danica's unrealistic expectations of potential suitors, including Frank's poor start with prison time and a drug habit. Perry's script tries to guide Danica towards accepting the flaws in those we love, but it mostly views the world through her entitled eyes, allowing her to make every bad decision possible but ensuring none of her hurtful moves will cost her in the end. Few mainstream romantic comedies are as brazen or unconvincing in their third acts, and the film ends with a silly coda that reminds us of Haddish's minimal appearance during the film's final hour.