Genre: Action, Comedy, Family Drama, Sci-Fi

Director: Hideki Takeuchi

Starring: Mei Nagano, Takeru Satoh

Rating: Rating: 4/5

Hideki Takeuchi’s live-action adaptation of Cells at Work! isn’t just a film—it’s a joyful, genre-blending celebration of life, health, and humanity, all set within the microscopic universe of a teenage girl. In the Urushizaki household, high schooler Niko dutifully cares for her widowed father, balancing her own life with his well-being. But beneath her healthy routines, her immune system is waging an epic war against a torrent of invading pathogens. With Red and White Blood Cells working overtime, Niko’s survival—and her shot at teenage romance—rests on their shoulders.

In this inventive blend of biology and storytelling, Cells at Work! spins a wildly entertaining narrative that combines elements of action, family drama, and rom-com. The film’s core is Niko’s story, a heartfelt journey of caregiving, self-discovery, and young love, framed by an intense battle happening within her body. The inner world is vivid and action-packed, reminiscent of Inside Out with a Japanese twist, where every cell plays a role, and every pathogen is a villain in Niko’s quest to stay healthy for her dad and her date.

Mei Nagano, as a sprightly Red Blood Cell, exudes boundless energy and enthusiasm, perfectly capturing the eager determination of a novice at work. Takeru Satoh, known for his role in Rurouni Kenshin, takes on the role of a stoic White Blood Cell, providing a protective and understated foil to Nagano’s character. Together, they form an unexpectedly endearing duo, navigating the perils inside Niko with both humor and heart. Their chemistry is infectious, adding warmth and fun to the film’s high-stakes battles.

Director Hideki Takeuchi is known for bringing imaginative worlds to life, and he does just that with Cells at Work! By merging the high-concept world of anime with live-action, Takeuchi crafts a visually vibrant spectacle where the bloodstream becomes a battlefield. Each cell’s costume is designed with intricate detail, adding a touch of lavish cosplay that brings humor and authenticity to the film’s zany setting. Action scenes are thrilling and gravity-defying, making the body’s defense mechanisms feel like epic duels, while the humor—sometimes raunchy, often slapstick—keeps the tone refreshingly lighthearted.

Beyond the scientific antics, Cells at Work! is a tribute to the human body and the beauty of human connections. With scenes that celebrate caring for loved ones, cherishing youth, and the joys of teamwork, the film transcends its biological focus to speak to something universal. It’s impossible not to be moved by Niko’s relationship with her father, and by the dedication of her body’s “micro-heroes” who fight tirelessly to keep her healthy.

Cells at Work! is an absolute joy—a film that combines educational elements with heart, humor, and high-energy action. Hideki Takeuchi’s skill at blending genres is on full display, making it an unforgettable, entertaining ride that will leave audiences laughing, cheering, and maybe even wiping away a tear.

A vibrant, genre-bending journey through the human body, Cells at Work! is a spectacle for the senses and the soul. This lively adaptation is one that audiences of all ages can enjoy, learning a bit of biology along the way.

Based on the 2016 novel of the same name by Robert Harris – when the Pope passes on, the college of Cardinals from all over the world convene in Rome to elect the new Pontiff, as shocking revelations and disturbances from the candidates come to light. 

One wouldn’t think that a film about the election of a new Pope, even with star powers like Ralph Fiennes, Stanley Tucci, John Lithgow and Isabella Rossellini in the films roster, would be anywhere near as good as Conclave turns out to be. But the film is, truly, a marvel, a wonder, perhaps even an actual miracle of drama to behold. And so, let’s grab our rather dusty zuchetto (the skullcap worn by Cardinals) and dive into this! 

So, the Pope (Bruno Novelli) has left this earthly plane without naming a successor, and like any good leader of millions upon millions of the faithful, he kept many secrets. The Dean of the college of Cardinals, Lawrence (Ralph Fiennes), is forced to hastily shove aside his genuine sorrow at the Pope’s passing and gird his vestments to prepare to deal with the influx of Cardinals coming to Rome for the election of a new Pope. Immersed in ancient traditions that date back centuries for how to deal with a deceased Pope and the ensuing election of the next, Lawrence nevertheless finds himself bemused at also being surrounded by modern security measures, as they prepare to lock down the whole place and all the people in it until the election is satisfied. 

Most of the Cardinals find themselves chagrined at the arrival of a fellow Cardinal they’ve never heard of before, a man who dared to bring the faith to dangerous places like Cabul, Archbishop Benitez (Carlos Diehz). And while Lawrence is unnerved too, he has far more on his plate to deal with. After an initial ballot to determine the front-runners for papal election, Lawrence begins researching into the backgrounds of the candidates with the most number of votes. Including, somehow, the unheard-of-before Benitez. 

First up is Tremblay (John Lithgow), growing more desperate to hide the fact that, just days before the Pope’s demise, he was sacked for “gross misconduct”. And while Lawrence is keen to find out why that came about, information on the other Cardinals is coming at him from all directions and so Tremblay has to be tabled for now. 

Next up is Tedesco (Sergio Castellitto), and this is a Cardinal of the old-fashioned hellfire and brimstone against the unbelievers variety. Tedesco is a man who, when confronted with violent protests going on just outside the college of Cardinals, shouts that, “We need a Pope who fights these animals!” Referring to other religions, especially the apparently hated by Tedesco faith of Islam, one can almost see Tedesco itching to speak the forbidden words, jihad or holy war. And we’ve had plenty of that in history already thank you. 

Lawrence’s good friend Cardinal Bellini (Stanley Tucci) is a man beleaguered by the Pontiff election too, almost as much as Lawrence himself. Yet Bellini is a good man, a kind and understanding and willing-to-listen type of Cardinal, who also finds himself struggling with ancient traditions versus the need for modernity of faith here in 2024. Bellini finds himself reluctantly recruited to help Lawrence maintain his sanity, and secrecy as these horrific skeletons of other Cardinals come to light, even while being in the running for Pope himself. If for no other reason than to make sure these other candidates don’t get it. 

Adeyemi (Lucian Msamati) is a Cardinal absolutely desperate to win the election, as it would be an incredible coup to be the first Black man ever to be elected to what is arguably the highest office of faith in the known world. And while the man (gender bias for Pontiff is something they fixed back in the time of Pope Joan) elected for Pope is still a man with a man’s shortcomings, the man who is Pope really needs to have either as few skeletons in his past as possible, or find a better way to keep them secreted and hidden forever. So when a serving Nun drops a tray in shock at seeing Adeyemi and through his research Lawrence finds out exactly why that happened and the past events that led to it, his past sadly takes Adeyemi out of the running for Pope too. Adeyemi’s remorse at such news seems genuine, as he tearfully asks Lawrence to pray with him, but the Deans word on this matter is effectively law and so his “ruling” stands. And really, from the way Bellini described Adeyemi as a sidebar, we don’t really want Adeyemi to win anyway. 

Lawrence has realized a clear advantage he has after recruiting the disapproving Nun Sister Agnes (Isabella Rosellinni) for help in his searches into the many Cardinals pasts, and it’s pretty clear Sister Agnes enjoys getting all these men in their funny ancient cassocks and faith beanies to shut the heck up when there’s things they all really need to hear, and know. Like, the revelation that Tremblay’s gross misconduct involved simony, a giant no-no as far as the college of Cardinals, and perhaps especially the office of the Pope, is concerned. So Tremblay is now totally out of the running too. 

But that leaves whom? Bellini may be a good man and good Cardinal, but he’s too progressive in his thinking and ways to want to fight for an office that, while it may be full of power in theory, also comes with arguably the heaviest responsibility on the planet. To be the Voice of God elected on this earthly plane to lead millions upon millions of faithful Catholics on the right path would be daunting to me, too. Tedesco is somehow still in the running, but as he loudly demonstrates during one of the latter-stage ballot discussions turned arguments, he would be a Pope who wants to go back to the old days of smiting infidels (meaning effectively anyone not Catholic) and we clearly cannot have that happen. Lawrence is made to realize that, despite his reluctance, he himself may have to take the office of the Pontiff, if, again, for no other reason than to make sure none of these other men got it. And most of these Cardinals in their arguments seem to have completely forgotten the newcomer Benitez, until he makes a speech towards the end that shames every last zuchetto-wearing man in the room. 

The film is a bit of a slow burn in the beginning, yes, but things pick up rapidly as the former Pope’s body cools and the men scurrying frantically to replace him speed up their lies, tactics, and calculating moves, even against each-other. Powerhouse performances are drawn from every single last actor, most especially Ralph Fiennes as Lawrence and Isabella Rosellinni as Sister Agnes. There is a giant reveal at the end and the entire theater audience, myself included, gasped as one when it came out – that’s how you know, you’ve made an excellent film. Cast your vote at the end for who is truly deserving to be the new Pope, see Conclave in theaters now!

Andrew Blake is a recently widowed British businessman, who finds himself taking on an unexpected job as a butler when he returns to the French manor house in northern France to be closer to the memory of his late French wife. 

Based on the 2012 novel Completement Crame! (Completely Burnt out!) by Gilles Legardinier, in his feature directorial debut of the film as well, the film is pretty much entirely spoken in French, and subtitled. The manor house folk do make a point of saying how Blake’s French is a bit tortured, and truly, watching Malkovich roll his unforgettable voice through the niceties of the romance language already sets up the film for a lovingly awkward if well-meaning comedy. 

So, Andrew Blake (John Malkovich) loved his wife, very very much. And they made some of their best loving memories here at the Beauvillier Estate, which unfortunately, is clearly not in much the same state as Blake remembers it. Financially, at least. Nathalie Beauvillier (Fanny Ardant) is a widower as well, and while she keeps the memory of her husband alive with a new outfit her husband wore daily mounted in her office, her concerns about keeping the Beauvillier estate afloat are clear and very present, and overshadow everything else. Not wanting to be in the way but not wanting to leave the manor for awhile yet either, Blake charms his entirely-too-British way into staying on at the Beauvillier manor, ostensibly as a butler that he has absolutely no training whatsoever for. 

As Mr. Blake bumbles his way charmingly through things like ironing the morning newspaper, he meets the other curious characters of Beauvillier manor – Odile (Emilie Dequenne) is the headmistress if you will, answering nervously to the stringent commands of Nathalie, uptight and struggling while hiding a surprisingly good cook; Magnier (Phillippe Bas) is the handyman on the estate grounds, who inevitably has an unrequited thing for Odile and a strange penchant for building stick houses for hedgehogs; and Manon (Eugenie Anselin) is a junior maid who, it turns out, has shacked up in a stall in the barn of the manor house due to a whole set of unfortunate real-life circumstances. 

Madame Nathalie believes the best way to turn the Beauvillier Estate around is to turn it into a country inn, and for that, she sadly needs yet more money. This means trying every single last scam prize jackpot offer that comes in the mail and this of course becomes one of Mr. Blake’s first duties, every morning. This also involves essentially genteelely whoring herself out to the likes of the plastic and toxic thief Mme Berliner (Christel Henon), and the couple Richard (Al Ginter) and Melissa (Anne Brionne) Ward, who both have unfortunate histories with Mr. Blake himself. This also means that Nathalie simply cannot afford to pay yet another servant, so the scenes where Mr. Blake is politely horrified by the room and board and cooking in exchange for his services are adorable and very British-civilized. 

As much as he loved his wife, Blake determines, while he wanders the grounds of Beauvillier Estate taking simple glee at making nudging changes to the sad lives of the people there, that he loves the manor home perhaps as much, and does not want to see it fail, or be sold to some greedy corporation wanting to turn the place into a day spa or some such drivel. And he flits, mischievous and determined, like a fairy or even an angel, making connections both great and small to the people and the grounds, that ripple out to make good changes in his wake. 

Saying anything else would simply detract from the warm charm and loving surprises of a very enjoyable little film, so for British dry wit meets French barely-restrained passion, see Mr. Blake at Your Service!