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‘Finding Emily’ Review: Angourie Rice and Spike Fearn Star in a Well-Acted, Poorly Written Mess

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Romantic comedies aren’t known for their technical mastery when it comes to the cinematic craft. In a decent rom-com, this doesn’t matter much. A good story with cute leads, solid performances and a teenie bit of drama can go a long way so far as the enjoyability of a genre predominantly made up of popcorn flicks is concerned. Unfortunately, Alicia MacDonald’s “Finding Emily” only ticks one of those boxes.

The story follows Owen (Spike Fearn) as he tries to reach Emily (Sadie Soverall) after their meet cute of a lovely night of dancing and batting their eyelashes at each other. Emily, dressed as a fairy (which is important because we’re going to call her Fairy Emily going forward), leaves her number in Owen’s phone before sprinting off in a rush with her friends. Problem is, she was a wee bit tipsy and distracted, and she missed a digit. This prompts Owen to begin his quest to find his manic pixie dream girl, which takes him directly to Emily Raine (Angourie Rice).

NuEmily is a psych major whose thesis is dependent on the theory that love is psychosis and we, as humans, have evolved beyond the need for it. Needing a final subject for her thesis study, Emily quickly decides that she’s going to help Owen find his long lost “love.” 

There’s a fleeting moment in the beginning of “Finding Emily” that you might find yourself excited that this new entry into the rom-com pantheon is focusing on male yearning rather than showing the woman twisting herself in knots for attention. Alas, that excitement is short-lived. It’s quickly revealed that Emily, despite her high and mighty take on love, is just as infatuated with a schoolmate. What unfolds after the film’s lack of depth becomes evident is a story so lost in its own ethical quandaries that it has no time to address how many utterly illogical or otherwise hollow decisions are made from start to finish. 

To be clear, “utterly illogical” isn’t in reference to silly miscommunications or ships passing in the wind. Those are perfectly normal rom-com tropes! No, the absurdities here are things like a Gen Z man not knowing what emailing on BCC means but being perfectly capable of dropping a pin. Lest you think I’m nitpicking on that whole BCC thing, please know that it’s entirely central to the plot and distractingly stupid. Yet, that laziness isn’t the greatest sin of Rachel Hirons’ script.

“Finding Emily” is a film packed to the brim with tertiary characters, every single one of which is a caricature. From Minnie Driver’s detached principle to Kat Ronney’s Emily Thewlis — the angry feminist  — not a single woman in this film is a person. Rice’s Emily is as close as the film comes, but she’s so detached from her own reality that any “depth” barely counts as a success.

Moreover, Thewlis herself illustrates the film’s primary narrative problem. Every issue that she brings up in response to Owen’s overreach is very real and should be taken seriously, but her character is the butt of every joke. She’s too much, she’s too loud, her hair is too pink, her passion to protect women too cloying. It’s a parody of a character that belongs in a “Not Another Teen Movie” or “Mean Girls” but she’s in a film playing its story entirely straight. Take that criticism and attach it to every other character in “Finding Emily” and you’ve got a solid understanding of the film’s inability to communicate tone or accomplish its own intent.

In the spirit of offering Hirons’ “Finding Emily” script some unearned grace, that intent seems to be to have a conversation about modern dating and the boxes we put men and women in. What happens in execution, however, is a film made for people who believe the “male loneliness epidemic” is women’s fault, and that #MeToo went too far. The only resolution Thewlis, Fairy Emily and the other character shells get are lines of text in a music video montage over the closing credits. It’s here where the film insists that Fairy Emily is “not a manic pixie dream girl” and is “her own person with her own issues.” If only the film went so far as to illustrate such a thing.

If “Finding Emily” has anything going for it, it’s the performances of Fearn and Rice. Their chemistry is believable (albeit more so as friends than romantic partners), and each actor is doing the best they can with what was put on the page for their characters. Fearn’s Owen is appropriately earnest, albeit painstakingly dumb for no apparent reason, while Rice’s Emily is at least somewhat heartfelt despite her abject cruelty and utter lack of self reflection. A special shoutout goes to Prasanna Puwanarajah for his turn as Professor Westlake — Emily’s psychology mentor — as well. He’s as much of a caricature as everyone else in the film, but at least he’s a funny one. 

Regrettably, those performances aren’t enough to save “Finding Emily.” Manufactured drama revolving around stupidity unbefitting of the generation illustrated coupled with flat characters and a complete failure of tone hold this one back from even empty-calorie kind of fun.

The post ‘Finding Emily’ Review: Angourie Rice and Spike Fearn Star in a Well-Acted, Poorly Written Mess appeared first on TheWrap.

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Jeanie Buss Asks Court to Stop ‘Devious’ Siblings From Selling Family Lakers Shares

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Jeanie Buss took legal action against her siblings’ attempt to sell the family’s remaining stake in the Los Angeles Lakers, filing a petition in which she blasted them as “devious.”

Jeanie, who was tapped by her father, famed Lakers owner Jerry Buss, to succeed him and run the franchise, filed a petition in Los Angeles Superior Court, where she asked a judge to block her five siblings from being able to offload their shares.

Additionally, Jeanie, who labeled her siblings as “devious” in a filing obtained by TheWrap, accused them of trying to ousts her as Lakers governor by secretly brokering the deal in question.

“The devious behavior of the co-trustees, Janie and Joey, as well as James, Johnny, and Jesse, is highlighted by the fact that they never revealed their scheme to Jeanie, who was blindsided by an alleged statement of the ‘family’ published by ESPN that declared, ‘We have decided as a family to sell the remaining Buss Family Trust shares to the Bob Iger group as part of the ongoing transaction,’” the document stated. “That alleged ‘family’ statement was knowingly false: Jeanie never agreed to any sale, was never consulted and was never even informed. The statement came just days after media reports of a proposed sale by majority owner Walter of his Lakers shares to the group led by Iger and Kushner.”

Elsewhere in the filing, Jeanie called for her siblings to be held in contempt, as well as be held “liable for damages.” She specifically called out her siblings, Janie and Joey, who she demanded be removed as co-trustees from the trust that holds the Buss family’s remaining stake in the team.

 “Janie and Joey have now brazenly, knowingly and intentionally violated the 2017 Order and the express provisions of the Jo Ann 2006 ESBT by secretly signing a purported resolution—void on its face—to sell a portion of the Jo Ann 2006 ESBT’s 17.82% stake in the Lakers,” the filing noted.

Jeanie’s legal team also argued that a sale of the Lakers did not make sense, citing its “continuously skyrocketing value.”

“Indeed, other owners of stakes in the Lakers have expressed their support for Jeanie remaining Controlling Owner,” the document added. “And have voiced their intent to hold, not sell, their stakes in the Lakers.”

Per the filing, a court hearing has been set for Nov. 5.

Jeanie’s legal move came over a week after she denounced her siblings’ announcement regarding the family shares, in which they planned to sell their remaining Lakers stake to Bob Iger and Josh Kushner following their $12.5 billion acquisition.

“Shams Charania of ESPN falsely reported that the six Buss siblings voted to sell the 17.8% ownership stake in the Lakers to Josh Kushner and Bob Iger, and that my client, Jeanie Buss, is ‘out’ as controlling owner,” Jeanie’s attorney Adam F. Streisand wrote to the legal teams of her respective siblings. “This is just the latest instance of a years-long pattern whereby Joey and Jesse Buss leak false, defamatory and pernicious ‘information’ to Mr. Charania for the malicious purpose of doing harm to the Los Angeles Lakers so long as Dr. Buss’ chosen successor, Jeanie Buss, carries out her father’s wishes.”

“No sale of the JAB Trust’s 17.8% ownership interest in the Los Angeles Lakers, Inc. can be effectuated without approval by the current co-trustees, i.e., Jeanie, Janie and Joey Buss,” the letter continued. “On behalf of Jeanie Buss, I demand that your clients make clear publicly that Jeanie Buss is the Controlling Owner of the Los Angeles Lakers and that your clients shall take no action on this supposed ‘vote’ to sell the 17.8% stake.”

Yet, Jeanie’s siblings doubled down on their decision, noting in a follow-up statement, “Johnny, Jimmy, Janie, Joey and Jesse have made the decision to sell the family’s remaining stake, and we remain united in that decision. We intend to move forward thoughtfully, respectfully and through the appropriate process.”

A representative for the Buss family did not immediately respond to TheWrap’s request for comment.

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Jack Osbourne Gives Update On Ozzy Movie

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A year after Ozzy Osbourne‘s death, his family is working on preserving his legacy on the big screen.

Jack Osbourne recently revealed that the script is “done” for a biopic about his father and they’re “currently going out to directors” after the Black Sabbath rocker died at age 76 last July.

It’s gung-ho,” he told E! News, revealing the family also has someone in mind to play the late Prince of Darkness. “We do. I’m not allowed to say, but conversations have been had, and if it all works out, it’s gonna be awesome.”

Jack explained, “I have this mantra, and I always say it, when in meetings with my mom or doing anything with the family business. It’s, ‘give the fans what they want.’ That’s our people, that’s who we’re catering for, that’s what my dad wrote music for, that’s what he toured for, it’s why we did the shows we did. It’s been a big theme.

“Because we’re doing the Ozzy movie with Sony, and I’m always saying in the meetings, ‘We’ve got to give the fans what they want. We can’t make this artsy, esoteric biopic,’” he added. “No, we’re not doing that—for many reasons—but it’s not what the fans want.”

In 2021, Ozzy’s official Twitter account announced in a statement that Sony Pictures and Polygram Entertainment were “developing a biopic chronicling the extraordinary life of rock legend Ozzy Osbourne, and the great love story between him and his wife, Sharon,” with Oscar nominee Lee Hall attached to write.

Ozzy died at age 76 on July 22, 2025 of a heart attack, having been diagnosed with coronary artery disease and Parkinson’s disease.

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Chris Hansen Buys Ad Space Before ‘Primetime’ Screenings

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Although Chris Hansen was not involved with the making of A24’s Primetime, he has something to gain from the film’s potential success.

The former To Catch a Predator host, who is portrayed by Robert Pattinson in the Ajon Singh-penned thriller, has purchased ad space before upcoming screenings of the film promoting his true-crime streaming network TruBlu, where Hansen continues his sting investigations.

“We see it as an opportunity to reach a very concentrated group of people who either know Chris or are going to know some version of Chris,” TruBlu President Shawn Rech told Entertainment Weekly.

“A lot of people, because we’re a small network, don’t know that he has done hundreds of new episodes, working in partnership with law enforcement,” added Rech. “And the cases are crazier than ever.”

The spot will run for four weeks before screenings of Primetime and in movie theater lobbies. If the movie does well at the box office, they could renew the ad.

Robert Pattinson in 'Primetime' trailer

Robert Pattinson in ‘Primetime’

Video screen capture

After Hansen recently confirmed he’s “going to see” the movie, following an invite from the production team to a private screening, he appeared last week on Fox News, claiming he was asked to sign “a very restrictive agreement” to attend the advanced screening. “I’ve never seen anything quite like it,” he said.

“The lawyers at A24 wanted me to sign away my rights to my name, image and brand essentially, as well as any potential legal rights that would come out of the movie,” added Hansen. “I couldn’t sign that, so they didn’t show me the film. I went all the way over there.”

The form was an NDA that all preview audiences are asked to sign a week in advance to view in an unreleased film, in order to prevent spoilers and protect IP. Hansen reportedly refused to sign, and therefore, wasn’t allowed to screen the film.

Premiering Sept. 25 in theaters, Primetime follows Chris Hansen (Pattinson) as he attempts to make television history with NBC’s To Catch a Predator (2004-’07), a hidden camera show that set up stings for adult men seeking sex from minors online.

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