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It’s a scam at first sight. Flustered by a bad day, comedian Andrea Singer ( Iliza Shlesinger ) bumps into a well-meaning stranger at the airport. That kind stranger, Dennis ( Ryan Hansen ), happens to sit by her on their flight to Los Angeles, and soon, an unlikely friendship forms between the comedian and the hedge fund manager. Although Andrea, through voice-over and stand-up monologues, insists she only ever sees Dennis as a friend, he nonetheless manages to worm his way into her life while keeping his a secret. When things escalate romantically, Andrea overlooks the many warning signs her friend Margot ( Margaret Cho ) points out until things really get serious. 

Kimmy Gatewood’s “Good on Paper” is a catfishing (or cuttlefishing, if you take Margot’s definition) comedy I’m sure more than a few people can relate to, even if not to the comic extremes taken by Shlesinger, the film’s star and writer. The movie's tagline says it’s “mostly” based on a true story, which means Shlesinger includes some of the less-funny, still-creepy emotionally manipulative tricks Dennis uses to get Andrea on his side, including the extreme misogyny that motivates his behavior. Yet, despite its bitter truths, “Good on Paper” still keeps a sharp wit and sense of humor about the whole affair. Eventually, the situation escalates into a ridiculous climax before a few surprise twists and turns return the story back down-to-earth. "Good on Paper" plays like a mystery but one that telegraphs who the bad guy is, with a few laughs at his expense along the way. 

Shlesinger’s deadpanned, matter-of-fact voiceover shares the commentary duties with interspersed clips from Andrea's stand-up set. Normally, this would derail the story's momentum as the lead tries to wring out any last-minute chuckles before moving on, but the way Shlesinger writes the part, she’s almost in conversation with her past (her time with Dennis), present (her voiceover) and future (the point after she’s processed what’s happened to her and can make jokes about it) selves about the ordeal. If only the work of exorcizing all of one’s evil exes was this cathartic. She’s not afraid to make her unlikable or caustic, in fact, it’s one of the more endearing parts of her personality: she’s able to see through and call out everyone’s bullshit except for that of a well-practiced sociopath. When she gets her chance to confront him, it’s a release, both for the character and the audience, to see her regain control and break his spell over her. 

Hansen is a charming foible for Shlesinger. He’s sweet when she’s sour, he’s earnest when she’s cynical. Following the beats of a standard rom-com, it feels as if her defenses are getting in the way of an inevitable relationship, and it effectively makes her feel guilty for what prove to be solid defensive instincts. Even as Andrea is on to Dennis' lies, Hansen continues his aw-shucks demeanor, digging up one emotional expression or pained physical excuse after another to excuse his questionable behavior. Dennis is a bottomless wealth of darkness whose cruelty is so well-hidden beneath an unassuming facade, it’s a shock when he reveals his true self. 

As Andrea’s best friend and partner-in-crime, Cho’s Margot starts out as the more logical of the pair, seeing the red flags long before Andrea, but eventually her performance and character tips towards some overblown reactions. It’s a chaotic shift that evens out for a few good one-liners, and moments of talking through the emotional aspect of seeing your friend survive an abusive relationship. Adding to the movie’s overall funny tone, the supporting cast delivers more than its fair share of jokes, including Rebecca Rittenhouse as a rival actress, Matt McGorry as Andrea’s cousin and actual Yale grad, and Kimia Behpoornia as Dennis’ frustrated but empathetic roommate. 

There are millions of bad dating stories in any given city, but a long con targeting a working comedian feels like an especially L.A. story. Gatewood and Shlesinger emphasize this by playing-up city-specific details, like plot points affected by bad traffic and parsing through the different streets separating West Hollywood and Beverly Hills. It’s a strangely specific yet somewhat universal tale—something that could happen to anyone (a brief look at the eight seasons of MTV’s “ Catfish ” and its spinoff podcast would suggest it’s not so rare). Despite the movie’s darker aspects, Gatewood and Shlesinger escape with some decent laughs and pointed questions. “Good on Paper” sometimes gets silly, sometimes serious, but it never waivers from its mission of being funny through it all.

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Monica Castillo

Monica Castillo is a critic, journalist, programmer, and curator based in New York City. She is the Senior Film Programmer at the Jacob Burns Film Center and a contributor to  RogerEbert.com .

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Good on Paper (2021)

Rated R for language throughout, sexual references, and brief drug use and nudity.

Iliza Shlesinger as Andrea Singer

Ryan Hansen as Dennis

Margaret Cho as Margot

Rebecca Rittenhouse

Matt McGorry

Taylor Hill

Britney Young

• Kim Gatewood
• Iliza Shlesinger

Cinematographer

• Giles Dunning
• Kyla Plewes
• Jonathan Sanford

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‘Good on Paper’ Review: Iliza Shlesinger’s Bad Romance Makes for Funny Fodder in Netflix Rom-Com

A career-focused comic meets a seemingly perfect guy, but starts to suspect the joke’s on her in this smart, charming semi-autobiographical tale.

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Skilled comedian Iliza Shlesinger is proving to be quite the formidable force for Netflix. After carrying a handful of raucous standup comedy specials, headlining an uproarious sketch show and popping up in supporting roles in “Spenser Confidential” and “Pieces of a Woman,” she returns to the streamer, ascending to leading lady status in her self-penned feature “ Good on Paper .”

The romantic comedy, loosely based on her real-life experiences as well as the standup routine that’s innovatively integrated throughout, is centered on a woman who begrudgingly decides to let down her guard when it comes to relationships, only to be confronted with a problematic guy who’s more slippery than safe. Containing razor-sharp witticisms about feminine intuition, gendered sexual politics and relationships (both platonic and romantic), it excels beyond its self-deprecating title.

Thirty-four-year-old Andrea (Shlesinger) has always made her career as a standup comedian and actress first priority. However, the exhaustive audition process and live comedy sets are starting to take a toll on her psyche. She’s becoming disillusioned, jealous and salty, especially when peers like Serena (Rebecca Rittenhouse), an annoyingly over-friendly actress who started out at the same time as Andrea, find the success and stardom she herself craves. And though she has a steadfast best friend in Margot (Margaret Cho) and casually dates himbos, long-term romantic stability has continually eluded her. Until destiny, as deceptive as it can be, finally reveals itself.

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A fateful flight brings hedge-fund manager Dennis ( Ryan Hansen ) into Andrea’s life. He’s not the usual type she finds herself attracted to, since he sports the stereotypical dorky hairdo, horn-rimmed glasses and tweed blazer. But he charms and disarms her nonetheless, engaging in non-threatening banter and helping her with a crossword puzzle. She invites him to her show that evening and the pair hit it off as friends. He seems to be a good guy, keeping up with her hectic schedule, meeting up with her at all hours and helping her achieve her acting ambitions. Things change when he proposes that they become romantically involved. She reluctantly accepts after some time. However, when Margot begins to grow suspicious of Dennis, Andrea can’t silence the nagging feeling he isn’t exactly the upright, forthcoming boyfriend he’s led her to believe.

Shlesinger’s screenplay plays it smart when it comes to Dennis’ deception, up until the inevitable third-act reveal which leaves little room for ambiguity. Director Kimmy Gatewood modulates tone adeptly during the first two-thirds of the picture so that we too question the red flags raised by the duplicitous character. They have fun toying with audience suspicion, much the way “So I Married an Axe Murderer” did, ramping up the inherent comedy of the protagonist and antagonist’s conundrums, while providing hints to the truth. Even before the hijinks and calamity ensue, we fall for the pair as a couple as they gallivant around Los Angeles, bonding and sharing formative memories. There’s a spiraling, outlandish absurdity to Dennis’ manipulative fibs, like seeing him weasel his way off a golf course after professing he was on an Ivy league team, or get out of arranging an introduction between Andrea and his allegedly cancer-stricken mother at his Beverly Hills home.

Hansen and Shlesinger have great chemistry together and individually tether us to their characters. The sharp-tongued comic is in full control of the spotlight, whether it’s performing her live routine spliced into the fictionalized portraiture, or engaging in cinematic catharsis as the leading lady in her own narrative. At once both self-deprecating and delightful, she’s a charismatic presence. Hansen’s own classic Californian good looks cloaked by the false veneer of bad hair and a preppy wardrobe hint at his character’s swindling scheme. He perfectly embodies a wolf in sheep’s clothing, walking a fine line between smarmy and sincere.

While the film offers enlightened commentary on the insidious nature of the lies we tell ourselves and others, its makers deliver a heartening sense of sisterhood without dipping into any cloying or overt sentimentality. Though a man provides the initial catalyst toward our heroine’s change, her maturation is achieved through her own agency. A healthy byproduct of Andrea’s increasingly souring romance is that she learns to be a better person to her female friends and to herself, and not to ignore her intuition. The genre’s standard “you lied to me” moment is integrated seamlessly into the shenanigans and takes on deepened meaning given the subject matter, while Andrea’s ensuing perceived betrayal feels genuinely earned.

Despite demonstrating ingenuity when it comes to flipping the script on tropes and genre trappings, a few sequences might have presented better as ideas in an outline than they do in execution. For example, when Andrea first catches Dennis in his lie that he rents an apartment alone, it stretches credulity that his spurned roommates don’t try to warn her then and there. That talk conveniently comes later on. Contrivances prevail late in the third act in order to get a clever call-back to a story thread involving a billboard Andrea hopes to buy with the spoils of her success.

Since audiences don’t typically expect to walk away learning any lessons from a light-hearted romp such as this, it’s an unexpected life-enhancement that we actually do. The gentle messaging that women should never cast aside their gut instincts when it comes to dating sticks around long after the credits roll. And that’s a concept that resonates even better on screen than on paper.

Reviewed online, Los Angeles, June 20, 2021. Rating: R. Running time: 93 MIN.

• Production: A Netflix release of a Burn Later production, in association with Meridian Content, Atwater Capital. Producer: Paul Bernon, Sam Slater, Han West, David Bernon. Executive producers: Iliza Shlesinger, Sejin Croninger, Rowan Riley, Vania Schlogel
• Crew: Director: Kimmy Gatewood. Screenplay: Iliza Shlesinger. Camera: Giles Dunning. Editor: Kyla Plewes. Music: Jonathan Sanford.
• With: Iliza Shlesinger, Ryan Hansen, Margaret Cho, Rebecca Rittenhouse.

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Good on paper, common sense media reviewers.

Amusing relationship comedy has lots of drinking, language.

A Lot or a Little?

What you will—and won't—find in this movie.

Women should be granted the same rights and judged

Andrea is smart, funny, and kind. She's also consu

A man's side is accidentally caught in a door and

More sex talk than actual visual content. In one s

Variations on "s--t" and "f--k." "Goddammit," "hel

Brands noticeably seen or discussed include iPhone

Adults get drunk repeatedly in various settings. I

Parents need to know that Good on Paper is a relationship comedy with mature themes and language aimed at an adult audience. The concept of relationships between 30-somethings dissatisfied with their lives or careers likely won't resonate with younger viewers anyway. There's a lot of alcohol consumption in…

Positive Messages

Women should be granted the same rights and judged by the same standards as men. Dishonesty hurts people, as does jealousy. Trust your instincts.

Positive Role Models

Andrea is smart, funny, and kind. She's also consumed with jealousy of another woman whose acting career has gone better than her own. Dennis lies to cover up his own insecurities and lack of pedigree. Adults are impressed with wealth. Women support each other. Some diversity in cast.

Violence & Scariness

A man's side is accidentally caught in a door and skin is torn off. A woman tries to "cauterize the wound" by pouring alcohol on it and setting it on fire. A man gets drunk, vomits, and falls down in an alley.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

More sex talk than actual visual content. In one scene, a couple are lying in bed together partially clothed, and she climbs on top of the man and kisses him. We see a naked man's behind in another scene. A couple makes out on the dance floor. There's talk of "missionary," being "hot," "penis," "eat a d--k," hitting on people, being physically attracted or not to someone, and forcing someone to "f--k a goat."

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Variations on "s--t" and "f--k." "Goddammit," "hell," "a--hole," "bitch," "penis," "d--k," "butthole," "pee," "psycho," "creep," "stupid," "brat," "Oh my God."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Brands noticeably seen or discussed include iPhone, Instagram, Facebook, Reddit, Craigslist, Uber, Mercedes, Cartier, Vans, Everclear, JC Penney, Yale.

Drinking, Drugs & Smoking

Adults get drunk repeatedly in various settings. In one case, a man drinks too much and vomits then passes out. A man is said to be a "low-key functioning alcoholic." Two people take mushrooms. A woman smokes a cigarette.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Good on Paper is a relationship comedy with mature themes and language aimed at an adult audience. The concept of relationships between 30-somethings dissatisfied with their lives or careers likely won't resonate with younger viewers anyway. There's a lot of alcohol consumption in this film and, in one case, a man said to be a "low-key functioning alcoholic" drinks too much, vomits, and passes out. Two people take mushrooms and go out dancing, and a woman smokes a cigarette in one scene. There's also sexual content, though more in dialogues than actual visuals. A scene shows a woman rolling over on top of a man when they wake up in bed together partially dressed. Couples kiss and make out. A man's naked body is seen from behind, and his physical attractiveness (or lack thereof) is discussed in detail while he's wearing a bathing suit. There's talk of "missionary," "hot," "penis," "eat a d--k," hitting on people, and forcing someone to "f--k a goat." Other language includes variations on "f--k" and "s--t," "goddammit," "hell," "a--hole," "bitch," "penis," "d--k," "butthole," "pee," "psycho," "creep," "stupid," "brat," and "Oh my God." In one scene, a man's side is accidentally caught in a door and his skin is torn off. A woman tries to "cauterize the wound" by pouring alcohol on it and setting it on fire. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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What's the Story?

When 34-year-old Andrea ( Iliza Shlesinger) , a stand-up comedian and aspiring actress, meets Dennis ( Ryan Hansen ) on an airplane at the start of GOOD ON PAPER, sparks don't fly. But Dennis persists, and he does indeed look good on paper -- he says he went to Yale and works as a hedge fund manager. Despite his somewhat unexciting appearances and demeanor, which Andrea doesn't find attractive at first, he's smart and kind and eventually wins Andrea over as a friend and later boyfriend. But Andrea's best friend Margot ( Margaret Cho ) has her doubts, and she pushes Andrea to question some of the inconsistencies of Dennis's story.

Is It Any Good?

Iliza Shlesinger and Margaret Cho make a very funny duo, and while this collaboration isn't great cinema, it's an amusing and well-paced hour and half of entertainment. The few laugh-out-loud scenes in Good on Paper involve the pair together -- an over-prepared stake-out and a misguided interrogation come to mind. The film flashes every now and then, Seinfeld -esque, to Shlesinger doing stand-up routines related to the movie's storyline, which we're told is "a mostly true story." These inserts could have fallen flat or pulled the viewer too far out of the action of the story, but since she's playing a stand-up comic and the routines are part of her character's story, it works.

In the film, the comedian's act revolves around questioning gender roles: Why when women do certain things are they judged so much more harshly than men? The inserts are funny especially in the context of the story being told. A final sequence involving a courtroom battle feels out of tone for the rest of the film. Ryan Hansen captures just the right mix of weird and harmless to make his character believable and only slightly creepy, keeping things from getting dark. Beyond the devious beau, it's a good bet that some of what Shlesinger's comic deals with in Good on Paper -- like a drunk "bro" telling her she's funny "for a girl" and the jealousies and struggles of forging a career in the entertainment industry -- are also "a mostly true story."

Talk to Your Kids About ...

Families can talk about the inclusion of stand-up comedy routines in Good on Paper . Have you seen this done in other series or movies? Do you like their addition? Why or why not?

The adults in this film, all in their 30s, seem to feel insecure or dissatisfied for a variety of reasons. Why? How does this affect them? How do you think a person can avoid this?

How is drinking alcohol portrayed in this movie? Does the drinking pose a problem in any of the characters' lives? How so?

Movie Details

• On DVD or streaming : June 23, 2021
• Cast : Iliza Shlesinger , Ryan Hansen , Margaret Cho
• Director : Kimmy Gatewood
• Inclusion Information : Female directors, Female actors, Bisexual actors, Asian actors
• Studio : Netflix
• Genre : Comedy
• Topics : Friendship
• Run time : 92 minutes
• MPAA rating : R
• MPAA explanation : language throughout, sexual references, and brief drug use and nudity
• Last updated : February 17, 2023

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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Good on Paper Reviews

Nothing about the film feels natural or believable.

Full Review | Aug 22, 2023

Good on Paper has its funny moments with some decent stand-up comedy, but overall is a pretty dumb and convoluted watch that believes itself to be wittier than it is.

Full Review | Original Score: 2/5 | Aug 6, 2023

Despite an undercooked third act and some long stretches of unfunny riffs, Good on Paper finds a way to keep you engaged throughout the film’s 90-minute runtime.

Full Review | Original Score: 7/10 | Jan 22, 2023

By the end it’s really hard to buy into anything “Good on Paper” is selling. Outside of the first 30 minutes, nothing about the film feels remotely authentic from its flaky characters to the unconvincing relationships.

Full Review | Original Score: 1.5/5 | Aug 17, 2022

Good on Paper may have a standard set-up, but writer-star Iliza Shlesinger quickly reinvigorates this regular romcom plot with her signature style and comedic stylings.

Full Review | Original Score: 7/10 | Jul 14, 2022

...begins to wear out its welcome to an aggressive degree...

Full Review | Original Score: 2/4 | Aug 8, 2021

As an "anti-rom-com," hijacking the genre's rhythms without adhering to the rules of the game, Good on Paper is fine. As a satire of showbiz vapidity, it's decent. It's not nearly as subversive as you want it to be.

Full Review | Original Score: 3/5 | Aug 2, 2021

Good On Paper has some things going for it, but it falls into a classic, cardinal sin of film promotion: the trailer gives too much away. In fact, it gives away everything.

Full Review | Original Score: 2/5 | Jul 24, 2021

Iliza Shlesinger and Margaret Cho make a very funny duo, and while this collaboration isn't great cinema, it's an amusing and well-paced hour and half of entertainment.

Full Review | Original Score: 3/5 | Jul 15, 2021

I'd recommend giving this film a try if you're able to manage your expectations. However, don't watch it if you're expecting a typical rom-com.

Full Review | Jul 2, 2021

[The film] is hemmed in by the constraints of its own genre, committing more to milking a few laughs than crafting any meaningful commentary on dating in the golden age of grifters.

Good on Paper earns its title, a decent idea whose execution doesn't measure up...a clumsy and intermittently watchable film, one that squanders a great deal of potential.

Full Review | Original Score: 2/5 | Jun 30, 2021

The storyline is unpersuasive (although it's said to be based on Shlesinger's experiences), but the film's loose, chatty style - under Kimmy Gatewood's direction - is pleasant enough in a typical indie-comedy way.

Full Review | Original Score: 3/5 | Jun 28, 2021

Shlesinger makes an engaging lead, charismatic and thought-provoking if not often laugh-out-loud funny.

Iliza Shlesinger and Margaret Cho on screen together is a winning combination. Unfortunately, more is needed to make Good on Paper succeed as an anti rom-com.

Full Review | Original Score: 6/10 | Jun 28, 2021

Iliza Schlesinger takes a familiar premise and spins it with stand-up comedy reminding girls sometimes what is good on paper is a hot buttered mess waiting to be exposed

Full Review | Jun 26, 2021

Absolutely no one in Good on Paper seems to believe any of the words they're saying.

Full Review | Original Score: 1/4 | Jun 26, 2021

I couldn't help but wonder if this story would actually work better as a short stand up story instead of being stretched to a 90 minute movie.

Full Review | Original Score: 2.5/5 | Jun 25, 2021

It plays like a long TV sitcom pilot, an only modestly promising one.

Full Review | Original Score: 1.5/4 | Jun 25, 2021

While it's not necessarily a shocking arc ... [it's] both a twist and, in many ways, refreshing for any romcom-adjacent genre.

Full Review | Original Score: 7/10 | Jun 25, 2021

Good on Paper (2021)

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Good on Paper review – Netflix dating comedy is OK on screen

Comedian Iliza Shlesinger turns a true story from her dating life into an intermittently entertaining, if inconsequential, movie

I t would perhaps be overly generous to say that the Netflix dating caper Good on Paper was itself an embodiment of its title but pre-release there were enough reasons to at least label it “fine on paper”, a welcome addition to the streamer’s growing sub-genre of female-fronted, and created, comedies. First, and what’s often most depressingly appealing these days about a Netflix “original” is that it was produced by an actual studio before being acquired (in this instance, Universal), gracing it with the feel and aesthetic of a genuine movie. Second, it’s based on a true story from comedian Iliza Shlesinger’s life, one that she’s turned into a script, craftily giving herself her first major lead and also telling a dating story from an authentic place, rather than leaning on a married person’s broad strokes idea of what swiping, flirting and shagging is like in the modern age.

Shlesinger’s ferocious, fast-paced brand of comedy, while far from unique, can often be extremely funny, combatting misogynistic ideas of women who don’t “conform” as well as relatable bits on the messier, easily judged ways we often act in relationships. Elements translate well to a film about dating, something she discusses in great length on stage, but not quite well enough, given how specific and hilarious she can be in her standup, the film often feeling a bit beige and shapeless in comparison. Shlesinger plays Andrea, a fictional version of herself, a single comic who ends up dating and sleeping with hot, but lightweight, guys with names like Kaden. On a flight home one day, she encounters Dennis (Ryan Hansen), a nerdy but friendly co-passenger, who is nothing she would usually go for (physically, she compares him to “an accountant who loves missionary”). They became fast friends and eventually it turns into something more but Andrea starts realising (along with help from her friend, an under-utilised Margaret Cho) that Dennis might not be the person he says he is.

The story that Good on Paper is based on (Shlesinger says the film is about two-thirds accurate), is one that’s been told on both Joe Rogan’s podcast as well as during a Comedy Central special and it’s the kind of endless “and then” tale that would have you gripped if it was being shared with you in person. On screen it’s a little less effective, mostly because in trying to force it into the structure of a broad comedy, it loses some of its edge. Shlesinger’s comedy also gets a little too smoothed out in the process, the film playing it safe when we want it to run wild. There are brief flashes but nothing gets close to watching her on stage, where she has the freedom to go further, to risk more, a freewheeling thrill to watch in her funniest, darkest moments.

The plot is spliced with moments from her standup, a la Seinfeld, which again aren’t as funny as they should be, but do provide some of the film’s more acute observations such as a bit about how a singleton is told to feel grateful after a certain age for getting the bare minimum, as if something bad is still better than nothing. Shlesinger has said in interviews that she was keen to grace her character with a certain sense of togetherness that she often feels is missing from female leads in comedies, who are fuckups in a way that feels over-egged and reductive. And that she does, tidily avoiding certain cliches and conventions (unlike Amy Schumer’s Trainwreck there’s not a whiff of the conservative slut-shaming that ultimately tanked that movie), but we still don’t know her quite well enough and it’s too hard to understand why she would fall for someone who is such a flashing assemblage of bright red flags. A lot of this is down to Hansen’s performance, which is far too broad, as if he just walked on set from a TBS sitcom that was cancelled in the 2000s, never convincing us that he’s someone who could attract anyone, let alone a self-assured, smart comedian.

It all goes off the rails in the worst way in the chaotic final act, as Shlesinger invents a farcical, and increasingly ludicrous, way to wrap things up, the truth of what happened proving far too pedestrian for the framework she’s created. It feels at times that in tying herself to this particular anecdote, she’s a little hampered, and one can foresee a better project for her as an actor and a writer somewhere in the future, something that’s both good on paper and on screen.

Good on Paper is available on Netflix from 23 June

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Good on Paper

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Iliza Shlesinger (Andrea) Britney Young (Casting Director) Christopher Nicholas Smith (Director) Adam Lustick (Writer) Alexander Roberts (Producer) Rebecca Rittenhouse (Serrena) Rebekka Johnson (Rhonda Steward) Ryan Hansen (Dennis) Hunter Hill (Heckler) Margaret Cho (Margot)

Kimmy Gatewood

After years of putting her career first, a stand-up comic meets a guy who seems perfect: smart, nice, successful and possibly too good to be true.

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With Good On Paper, Netflix tries to subvert its own rom-com brand

Comedian Iliza Shlesinger writes and stars in this "mostly true story based on a lie"

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‘Good on Paper’: When Dream Guys Turn Into Nightmares

By David Fear

Boy meets Girl. Boy and Girl fall in love. Well, OK, hold up, let’s rewind: Girl just wants to be friends — not attracted to Boy, if she’s being 100-percent honest — but, to Boy’s credit, he offers moral support when it comes to her auditions, and gets along with Girl’s friends. Boy is, like, always around! And he listens to her. And is a lot nicer than the blandly hot, interchangeable L.A. dudes Girl usually hooks up with. So what if Boy is kind of dweeby, and isn’t in the best of shape, and, according to Girl, “looks like an accountant who enjoys missionary.” He could be the one for her. Let’s hear it for the Boy!

Except … Boy exhibits some warning signs. He name-drops Yale within seconds of meeting her, but can’t remember what constituent school he was in. His supermodel girlfriend always conveniently cancels plans with him at crucial moments. The guy drinks like a school of fish, and is extremely evasive when it comes to little details like his hedge-fund job, his family, where he lives. It’s freakin’ Red Flag Central over here. I mean, you can’t really blame Girl and her Suspicious, Cool Lesbian Bar-Owner Best Friend for wanting to figure out exactly what the hell is going on here, right?

If he’s too good to be true, etc., etc.: Good on Paper (now on Netflix) sets up its from-candlelight-to-gaslight love story around this old chestnut and quickly tries to mine every aspect of when dream guys become nightmares for laughs. It’s less a cautionary-tale romantic comedy, however, than a showcase for its writer and star Iliza Shlesinger, which turns out to be more of a feature than a bug. A Texas-raised stand-up, Shlesinger is the sort of kinetic stage performer that doesn’t prowl stages so much as territorially mark them; her timing is impeccable, her routines have a tendency to make hack topics feel tinged with danger, and she’s unafraid to act like a goon to goose a punchline. (Or to substitute for a lack of one — see her “party goblin” bit from 2016’s Confirmed Kills, in which a hunched gait, a growl, and an unleashed id become a singular piece of physical comedy unto itself.)

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She has five specials and a Netflix sketch show to her name, as well as a few scattered supporting roles here and there. That’s Shlesinger screaming at Mark Wahlberg before screwing him against a bathroom sink in Spencer Confidential (do not hold this clichéd-angry-girlfriend against her), and that’s Shlesinger as Vanessa Kirby’s concerned sister in the devastating drama Pieces of a Woman (do admire her for subtly fleshing out what could have been little more than a background-extra part). If you knew her work as a comic, you felt like her acting gigs were side hustles in between killer hour-long sets. At the very least, Good on Paper dispels any notion that she couldn’t carry a film — the same blinding-light charisma Shlesinger has in spades onstage finally gets some screen time.

Playing a stand-up named Andrea Singer, her character is fueled by a write-what-you-know sensibility. You assume that some of the club shots and touring clips in the introductory montage are culled from actual roadwork. From what we see of Andrea’s headliner spiels, they would fit nicely into a Shlesinger tight five for a late-night talk show appearance. The frustration she feels from being passed up for jobs, and the envy Andrea feels that a younger, “prettier” blonde actress is getting all the breaks and Sunset Strip billboards, probably comes from a personal place as well. Hooray for Hollywood?

And, per Shlesinger herself , the story of a young woman being taken in by a romantic grifter is based on an actual dating experience the comic had a number of years back. As played by Ryan Hansen — taking a break from the surfer-boy douche-bro niche he colonized on Veronica Mars and Party Down — this beta male named Dennis doesn’t sweep Andre off her feet so much as slowly insinuate himself into her sphere, chipping away at her with ingratiating acts of piety or by inspiring a sense of pity. He’s just attuned enough to Andrea’s needs and moods to seem like an ideal match, and just clueless enough about his looks and what’s hip to seem harmless. Even when the lies start to pile up, Andrea is in denial: No way this guy would he be able to pull off a long con like that, and no way would I ever be taken in by such a clumsy nice-guy honey trap. He is able. She does fall for it.

The one voice of reason here is Margo, Andrea’s best friend and bartender sidekick played by Margaret Cho, and the longer you watch Shlesinger’s lemonade-from-sour-lemons reclamation of this traumatic romantic faux pas, the more you realize she hasn’t just written her own ticket with this film. She’s also reintroduced Cho to viewers, who should be eternally grateful. Unleashing a litany of wide-eyed reaction shots, hyped-up rants, horndog thirstiness, high-flying kicks, and wary asides, the veteran comedian jolts everything around; you’d accuse her of stealing the movie if it weren’t for the fact that her bite complements Schlesinger’s neurotic, fuck-you-lookin’-at, wiseass bark so wonderfully.

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Which is arguably part of the problem. As an “anti-rom-com,” hijacking the genre’s rhythms without adhering to the rules of the game, Good on Paper is fine. As a satire of showbiz vapidity, it’s decent (the business with Singer’s nemesis wears out its welcome, even if Rebecca Rittenhouse gets the pass-agg sharpness right). It’s not nearly as subversive as you want it to be. If you’re seeking anything chewier about the pitfalls of modern dating, or con artistry in the age of social-media enabling, or what women want — from careers to friends, life, love — look elsewhere, pilgrim. But when Shlesinger opens the passenger door to her star vehicle and turns it to into a full-blown buddy comedy, the movie goes from being merely good on paper to being great onscreen. That’s where the chemistry is. That’s where the comedy is. Never mind the bad-romance exorcism. You keep feeling like the film is invested in the wrong relationship.

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Movie Review – Good on Paper (2021)

June 23, 2021 by Robert Kojder

Good on Paper , 2021.

Directed by Kimmy Gatewood. Starring Iliza Shlesinger, Ryan Hansen, Margaret Cho, Rebecca Rittenhouse, Matt McGorry, Taylor Hill, Britney Young, Beth Dover, Rebekka Johnson, and Rebecca Delgado Smith.

After years of putting her career first, a stand-up comic meets a guy who seems perfect: smart, nice, successful and possibly too good to be true.

Everyone sees that there is something off about Dennis (Ryan Hansen, navigating the character’s initially harmless awkward and intelligent demeanor into something full-blown narcissistically entitled once the cracks are exposed, with pinpoint precision) in Good on Paper . The exception is Iliza Shlesinger’s Andrea (the comedian also writes the script here, which also appears to be an adaptation of events in her life and a cinematic interpretation of the standup routine that followed), a 34-year-old (often mistaken for 35 in an amusing running gag) moderately successful standup comedian struggling to break into Hollywood. Dennis does admittedly sound good on paper; he’s sharply dressed, knowledgeable, well-spoken with a robust vocabulary, and works with hedge funds. Andrea actually sums it up best herself in the early goings; he’s pompous with abundant kindness.

The red flags are obvious to the audience and characters surrounding Andrea, such as her hyper and well-meaning outrageous best friend Margot (Margaret Cho). As such, it can be mildly frustrating watching Andrea pull back on her skepticism anytime a fishy scenario arises. Typically, a dynamic like that would decrease engagement levels (no one likes or wants to root for characters making dumb decisions), but Good on Paper (which is actually directed by GLOW talent Kimmy Gatewood, who handles this tricky mixture of tones competently) realizes it has to probe into why such an independent, confident, and smart woman would drastically lower her guard and believe the most obvious of fibs.

That’s where the early narration and occasional cutaways to standup comedy come in, but even without those aspects, it remains clear why Andrea (or going one step further remembering that this is also a true story based on a disturbing fabrication, albeit likely somewhat exaggerated for more laughs, Iliza Shlesinger) wants to hold out hope and selectively see only the good. She even goes as far as doing things red-pillers spend hours on YouTube brainwashing low self-esteemed and lonely into thinking never happens; an objectively stunningly beautiful woman looking past less than desirable physical traits to try out a relationship. It’s not so much naivety, rather doing the thing every self-proclaimed “one of the good guys” encourages a woman looking her way to do, which is giving him a chance.

The goofy performance from Ryan Hansen strains believability at times (I’m willing to bet that the real guy was a much more convincing liar) but is easily forgettable once the genre shifts from comedy to dramatic (alongside his acting shifting into sinister and sociopathic territory). That’s not to say Good on Paper has no mysterious quality, just that the question is not “is Dennis lying”; it’s “has he told the truth once about anything yet.” And that’s especially concerning considering the weightiness of certain personal details Dennis divulges about his life, depressing things that we actually hope are true just so the guy is not as much of a monster as he could be.

There is also a subplot involving Andrea’s competition, a friend and rising actress named Serrena (Rebecca Rittenhouse). They moved to Los Angeles years ago together, both seeking work in television and movies, so naturally, some jealousy has arisen on the part of Andrea. It’s a plot thread that doesn’t fully work into the larger picture, but one that nonetheless feels real and allows Andrea’s character additional honesty in expressing that jealousy before realizing her real enemies. The script is also wise enough to play with conventions of buddy characters and subvert clichés.

For the most part, Good on Paper is still a comedy (Andrea and Margot go on stakeouts where Dennis supposedly lives, where some odd revelations occur). However, it’s fair to say that the story here is more enthralling when it’s operating on a terrifying wavelength. A few funny situational sequences put Dennis on the spot, digging himself deeper into lies or trying to escape, but it doesn’t compare to the horror of the final 25 minutes. In that regard, Good on Paper ‘s conclusion feels rushed as the film ends when it starts kicking into exhilarating gear. Still, as an exercise combining stand-up comedy and narrative storytelling to process emotional trauma, Iliza Shlesinger has written something that’s both broad and profound. Someone make sure she never does garbage like Spencer Confidential again, giving her better roles and more comedy specials. Put her career on the same upward trajectory as Andrea’s.

Flickering Myth Rating  – Film: ★ ★ ★ / Movie: ★ ★ ★ ★

Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check  here  for new reviews, follow my  Twitter  or  Letterboxd , or email me at [email protected]

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REVIEW: “Good on Paper” (2021)

It’s amazing how well the title “Good on Paper” fits this new Netflix comedy from first time director Kimmy Gatewood. The film is written by and stars stand-up comic Iliza Shlesinger who has the big personality and snappy wit you often look for in good comedies. But “Good on Paper” is exactly that – an idea for a movie that probably sounded great during conception but that falls apart on screen. It’s a shame because it begins with a fair amount of promise.

Shlesinger plays Andrea Singer, a fairly successful stand-up comic trying to break into acting but getting nothing but rejection from her countless auditions. On a flight back to Los Angeles she meets Dennis (a hunky Ryan Hansen sporting nerdy glasses and a bad comb-over in an effort to make him look homely). He comes packaged with some pretty attractive qualities. He’s a Yale graduate, has a high-paying job as a hedge fund manager, and owns a big house in Beverly Hills. The two instantly hit it off and begin spending a lot of time together in LA.

It doesn’t take long for us to notice that Dennis is clearly smitten, but to Andrea their relationship is purely platonic. Of course the more they’re together the closer they become and the awkward yet inevitable romance blossoms. But to the film’s credit this isn’t a prototypical romantic comedy. And as the two friends slowly morph into a couple, Andrea begins noticing cracks in Dennis’ story. Is he really who he says he is? Did he really go to Yale? Does his mother have cancer? Did he ever really have a supermodel girlfriend?

Then the movie starts to fall apart. Andrea’s state of oblivion is mind-boggling which does no favors to the character. We can certainly see enough to figure things out. Even the suspicions of her best friend Margot, a brash stock character of a sidekick played by Margaret Cho, falls on deaf ears. By the time it all finally comes to a head the story has completely unraveled into a weirdly out-of-tune mess that doesn’t seem sure of what it wants to be. And the final act is painful to sit through, taking several wacky turns, throwing out some jarringly unnatural dialogue, and giving us some cringe-soaked scenes that resemble really bad sketch routines.

By the end it’s really hard to buy into anything “Good on Paper” is selling. Outside of the first 30 minutes, nothing about the film feels remotely authentic from its flaky characters to the unconvincing relationships. And while it tries, the movie has nothing especially meaningful to say about single life or dating. I ended up unsure of what the movie was other than a showcase for Shlesinger who certainly has the comedic chops. She just may want someone else to write the material next time around. “Good on Paper” is now streaming on Netflix.

VERDICT – 1.5 STARS

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10 thoughts on “ review: “good on paper” (2021) ”.

Pingback: REVIEW: “Good on Paper” (2021) - Chimpy

Yes!!!! Oh dear indeed.

Yep. Unfortunately it’s a stinker.

OK, not going to watch that. Watch Titane instead like I did last Saturday. What a film…

I’ve had opportunities to see Titane but haven’t pulled the trigger yet. I know there’s a ton of hype, but the trailer did nothing for me. Left me thinking “Oh, it’s one of those kinds of movies”. Unfair I know, but I’ll see it before awards voting time.

It’s not really what you think but expect to be really shocked.

It’s funny you say that because that’s the exact impression I got. The trailer looked like a movie that was going to go out of its way to shock. Again, I don’t want to make any judgments. It would be completely unfair of me to do so. Just speaking to the impression the trailer left.

I can’t wait to read your Halloween Party review 💛💜❤️💙

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Reviews by someone who's seen the movie

Good on Paper

With Good on Paper , a film about a comedian, written by and starring a comedian who’s done a handful of specials for Netflix, Iliza Shlesinger appears to be walking in Amy Schumer’s shoes. She’s about the same age, blonde, Jewish and deploys a scalpel wit in comedy that veers between self-deprecation and attack. The “yeh, what of it?” style. She’s also likeable, which isn’t the main difference between successful and unsuccessful comedians – that’s good material – but it helps.

Like a lot of comedians moving into new territory, Shlesinger goes down the Jerry Seinfeld route, of a fictional story with cutaways to Shlesinger doing her stand-up routine, which acts as a commentary on what we’ve just seen, a progress report on how it’s going so far, where mistakes have been made, how the fictional Iliza (called Andrea, just in case we get confused) compares to the real Iliza, and so on.

This is a transition, in other words, perhaps out of nervousness of being able to pull off a fully fictional set-up in one fell swoop, or perhaps out of a worry that the audience won’t make the leap with her (which is the sort of thing TV execs worry about more than comedians). The material, too, plays safe by making relationships, Shlesinger’s stock in trade, its subject.

Andrea, a standup comedian and endlessly auditioning actor, meets a guy called Dennis (Ryan Hansen) on the flight back from her latest disastrous try-out for a TV series. He’s a hedge fund manager, nice, chatty, smart and they hit it off instantly. He’s a bit preppy and nerdy but he’s fun and – big plus – he likes a drink. He becomes a fixture in her life, but there’s nothing romantic going on – she finds him physically unattractive, one of her standup interludes makes clear.

But Dennis would like there to be something romantic going on – he even pitches their relationship to her the way a money man might, as if a Powerpoint presentation were coming any second. But as another standup interlude points out, often the difference between romance and no romance is a few glasses of hooch. In the case of Andrea and Dennis, psychoactive mushrooms are what breaches the dam.

Dennis is not quite who he seems, though. He probably isn’t a hedge fund manager, he probably doesn’t have a house in Beverly Hills, his mother probably isn’t dying of cancer. He’s obviously spinning Andrea a line, in the way all men spin all women a line when they’re out to impress them, except Dennis doesn’t seem to know when to stop.

That’s the situation in the situation comedy side of things – we watch as she works it out. The problem being that we’ve all worked it out a lot faster than this supposedly very smart woman manages to. From the get-go Dennis is obviously a creep. His clothes, his unshaven features, his bad hair, everything about him says “this guy is not managing a hedge fund” and it ruins the enjoyment a touch that Andrea isn’t working that out. At one point the story threatens to become a thriller, with Shlesinger as a kind of Hitchcock blonde, and then it pulls back into safer comedic territory again.

It’s fun, funny, smart and never quite as dangerous or satisfying as it feels like it ought to be. Margaret Cho adds spikey attitude as Andrea’s bar-owning (handy) outspoken confidante, Rebecca Rittenhouse is the airhead acting rival she is fixated on – in the best bit of the film these three form a kind of wonky sleuthing team – and on the fringes, as two women who know Dennis better than most, are Beth Dover and Kimia Behpoornia, both of them very welcome squeezes of citrusy sharpness.

The women in this tend to be smart and unconventional; the men who aren’t Dennis tend towards the baying jock, from hecklers at the comedy club, to guys on the street, to the Yale graduate (“Bow wow wow”, he barks) Dennis should really know but doesn’t (because he never really went to Yale).

Men are oikish lying scumbags; woman are sweet-natured and thoughtful. One’s from Mars, the other from Venus. Puppy-dogs tails; sugar and spice.

Does Good on Paper sound good on paper? Regardless, it is a good comedy. It’s likeable and funny. But it feels like it’s holding back its best ideas and wants to be more – more adventurous, more daring. Maybe next time.

© Steve Morrissey 2021

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‘Good on Paper’ Review: Iliza Shlesinger Charms in Netflix’s Messy Rom-Com About the Hell of Dating

Kate erbland, editorial director.

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Messiness is essentially the theme of Kimmy Gatewood’s “Good on Paper,” so it’s fitting the director and actress’ feature filmmaking debut is just that: messy. Not that it’s lacking charm, mostly care of star and screenwriter Iliza Shlesinger , who gamely co-opts her own notoriety and crazy stories to offer up an anti-rom-com with some sage insights about both modern romance and the stand-up comedy game. And yet, despite a clever idea at its heart — a serial dater meets a guy who seems too good to be true, a concept Shlesinger mined from her own bad dating experiences — “Good on Paper” can’t quite find its footing, offering insight and sparkle in only fits and starts. 

Still, that doesn’t mean such insight and sparkle isn’t present, but they are often buried beneath scattered plotting that seems oddly uncomfortable with sticking to one idea for longer than a single scene or two. Ideas aren’t the problem here: Shlesinger and Gatewood are full of them, from the wacky-turned-weird romance that frames the film to a smart subplot about trying to make it in the comedy world as a woman (and what happens when women are pitted against each other inside that vicious milieu). But none of those ideas ever get enough air; instead, they’re constantly bumping up against each other, fighting for screen time and interest, resulting in an uneven outing that can’t satisfy even as it never offends. It’s cute, but could have been so much more.

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Shlesinger stars as Andrea, a lightly veiled version of herself in the earlier part of her career — before the Netflix specials, hell, before this Netflix  movie — a talented stand-up comedian who can’t quite break through. She’s dedicated herself to her career, and while that has earned her some degree of fame and plenty of gigs around LA, Andrea would really like to break into the scripted world. That’s hindered by all sorts of roadblocks, though she mostly fixates on the success of Serrena (Rebecca Rittenhouse, more than pulling her weight), who came to Tinsel Town at the same time as Andrea but has already managed to snag role after role. She’s even got billboards with her face on them!

After another busted audition, a bummed-out Andrea at least has the pleasure of a first-class flight to soothe her, and things seem to be looking up when the sweet Dennis (Ryan Hansen, playing intriguingly against type) plops down beside her. Andrea’s dating tastes tend toward the himbo variety, and goofy Dennis is very much not that kind of guy, but he’s kind and interesting and, perhaps best of all, he knows who Andrea is. For a gal struggling to feel relevant, it’s hard to discount the power of someone who seems to a) think you’re kind of famous and b) is into the stuff that allegedly makes you kind of famous.

Andrea doesn’t expect to see Dennis again, but when he shows up at one of her gigs (she invited him! sort of!), the two tumble into a slow-speed friendship that’s genuinely nice, actually refreshing, and yes, sounds “good on paper,” just like Dennis himself. If Andrea can’t quite see the cracks in his facade just yet, it’s because she doesn’t want to, and also, Shlesinger’s own script simply moves too fast for that kind of considered pacing. One minute, Dennis is Andrea’s doofy sidekick, the next, they’re in love. Kind of. Soon enough, Andrea has discerned — with the help of some huge red flags, plus the smarts of her eye-rolling best pal Margot (Margaret Cho) — that Dennis is not who or what he says he is, quickly turning “Good on Paper” from a sweet rom-com into something very, very different.

And yet it’s unclear just what Gatewood and Shlesinger want from that particular twist. Narrative flourishes, including voiceover narration from Shlesinger and quick hits of her stand-up routine, pull focus away from the Dennis drama, turning the film into more of a vehicle for just Shlesinger’s talents, rather than this awkward chapter in her own romantic history. Real-world locations around Los Angeles, including the Comedy Store, add texture to Andrea’s professional woes, as does the Serrena subplot, which grows into something much more compelling than hinted at during the film’s first act. But other bits feel out of place, including a surprisingly gory sequence in which Andrea and Margot confront Dennis, along with a final act dedicated to legal issues that is out of step with the film’s otherwise wacky energy.

Shlesinger, however, stays charming throughout, and her attempts to ride all the vagaries of Andrea’s story and character hint at still-untapped performance reserves from the comedian. Andrea is a complex, funny, weird, and yes,  messy  character, and Shlesinger’s resistance to buffering over her prickly bits is the best thing about “Good on Paper.” But that same care isn’t applied to the rest of the film, which can never strike a balance with its many ideas and tones, turning its own prickliness into something that mostly just stings.

“Good on Paper” will debut on Netflix on Wednesday, June 23.

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Good on Paper Ending, Explained

‘Good on Paper’ is the kind of romantic comedy that fans tired of the genre’s many saccharine plotlines will love. The grumpy stand-up comic Andrea, who the film follows, decides to take her friend’s advice and lets her guard down, only to fall in love with the highly shifty Dennis. What follows is a cat and mouse game of wits and a wild goose chase as Andrea, egged on by her fiery friend Margot, tries to catch Dennis in one of his many lies. The film’s predictable meet-cute  beginning takes a refreshing turn as things get out of control, and Dennis, at one point, even fears he may have lost a kidney. Let’s take a closer look at the viciously funny ‘Good on Paper.’ SPOILERS AHEAD.

Good on Paper Plot Synopsis

‘Good on Paper’ opens with the film’s protagonist performing a stand-up comedy gig and pulling it off with aplomb. We then see Andrea during the day at a television audition where she critiques the script’s comedy and, in return, gets cold-shouldered by the showrunners, resulting in her not getting the part. The audition panel then gets excited for the actress auditioning after her, who turns out to be Andrea’s long-time friend Serrena who has had a successful career as a television actress ever since the two moved to Los Angeles together.

Whilst having an ill-tempered drink at her friend Margot’s bar, Andrea is told by her friend to open up to new possibilities and stop being so negative. Taking her words to heart, our leading lady decides to open up to Dennis, a pompous yet oddly charming man she met at the airport . Dennis turns out to be the companion that Andrea has been looking for, and the two soon become inseparable friends. He is funny, smart, and wealthy, and Andrea, though not physically attracted to him, finds herself quite attached to the slightly goofy man. Her friend Margot is also suitably impressed when Dennis reveals that he’s a hedge fund manager.

After many fun evenings with Dennis, and partly out of pity because of his terminally ill mother, Andrea finally decides to take the plunge and agrees to go steady with him. However, holes in Dennis’ seemingly perfect Yale-graduate-hedge-fund-manager existence soon begin to show up as Andrea sees him unable to keep up with her actual Yale-alumni brother. Things come to a head when she discovers Dennis living with two female roommates instead of the Beverly Hills house he claims to own.

Good on Paper Ending: What Happens to Dennis?

Andrea and Margot hatch a plan to get Dennis drunk and confess, which ends up being a little too effective. They soon have Dennis passed out drunk and tied to a chair, but not before accidentally injuring him on the door to Margot’s basement. Upon him waking up, Andrea confronts Dennis, and he confesses to being a lowly bank assistant who only lied to impress her. A mortified Andrea calls their relationship off but is soon arrested for kidnapping and injuring Dennis.

A vengeful Dennis now wages a legal battle on the increasingly embittered Andrea for abducting him and injuring him in the process. The comedian accepts her faults but points out that Dennis is as pathetic as her for constantly hiding who he is. In the end, Andrea is slapped with a restraining order, which she happily accepts. She also uses the money she gets from selling Dennis’ promise ring to buy the hoarding she always wanted to see herself on. On it, she advertises Dennis as a liar alongside a picture of him.

So it looks like Andrea, though once again single, got the billboard she always wanted. However, what happened to the mysterious man on the hoarding? The last we hear, Dennis’ roommate Maggie says that he disappeared from their shared house a few weeks ago, leaving all his belongings behind. Much like Andrea, we also know very little about Dennis Kelly, and he seems to have disappeared as mysteriously as he appeared.

The only thing we know about Dennis is that he was a bank assistant who lived in a single room of the house he shared with Maggie. Considering how much he liked his rich, well-educated alter ego, and seeing as he left all his things behind, it seems like Dennis has made a new identity for himself and plans on procuring an entirely new persona. The fact that Andrea has displayed his face on a prominent billboard in the city, which labels him a liar, also augers that the mysterious man will attempt to significantly change how he looks.

Dennis, throughout the film, shows himself to be an accomplished liar and convincing actor, which allows him to repeatedly manipulate Andrea into believing him. He will no doubt use his talents to forge a completely new character for himself. His parting words to the frustrated comedian — that he hopes to meet her under more favorable circumstances — could point to him planning to cross paths with Andrea again sometime in the future under a different guise.

Why Did Andrea Date Dennis if She Was Not Attracted to Him?

Since the start, Andrea is conflicted about whether she likes Dennis or not. She finds him pompous but oddly charming; bumbling, yet well-spoken and smart. Through all her confusion, however, the one thing she is certain of is that she is not physically attracted to him. This results in their friendship remaining platonic for many months, during which they become close.

Andrea finally relents and lets Dennis kiss her at a party where they go to take his mind off his sick mother. Having earlier rejected his advances, Andrea kisses him this time partly because she feels sorry for him and partly because they are both drunk. In one of the earlier cutaway scenes of her stand-up comedy gig, Andrea even cracks a joke to the same effect. Her feelings of affection towards Dennis get only stronger the next morning when she decides that she wants to be his girlfriend.

This sudden change in Andrea is driven by the fact that through their friendship, she has become increasingly attached to Dennis. As Margot explains, by saying the right things and boosting her ego, Dennis becomes her inseparable friend whose company Andrea enjoys largely for that particular reason. Therefore, once the barrier of physical intimacy gets removed after their kiss, it is most likely that Andrea feels that she is ready to have a complete relationship with Dennis. Of course, she later realizes her massive error in judgment, with hilarious consequences.

Why Are There Stand Up Comedy Scenes in Between?

The stand-up comedy scenes we see at the opening of the film — and then regularly throughout — feature Andrea telling an unseen audience jokes that match what is currently happening in the movie. The cutaway scenes work as a sort of abstract commentary on the film and the situations that Andrea finds herself in, from the perspective of the actual person who plays her role in the film.

The cut-away scenes are of standup comic Iliza Shlesinger performing a show in front of a live audience. The comedian is the writer of ‘Good on Paper,’ and also essays the leading role of Andrea. Hence, the jokes that she tells parallel to the film’s story are possibly the comedic material that she eventually based her movie on. These cut-away scenes have Iliza outlining hypothetical situations, which we then see occur to the characters in the movie, giving each of her jokes good mileage and an opportunity to be explored from different angles.

Read More:  Is Good on Paper Based on a True Story?

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Good on Paper

Posted by Charlie | Sep 12, 2021 | Comedy , Mystery | 0 |

2021 | unrated (R equivalent) | starring Iliza Shlesinger, Ryan Hansen, Margret Cho | directed by Kimmy Gatewood |  1 hr 32 mins |

When Eliza Shlesinger first jumped out of the TV competition show  Last Comic Standing  she carved out a niche – one that started as cringe and matured and refined over the course of her first 3 stand-up specials – taking on the secret, catty, vindictive life of female mean-girl culture that exists away from male eyes. Whether it’s accurate or not it was a take nobody else in the pop culture sphere was touching and Shlesinger molded into a comic weapon with wit, imagination and precise delivery. We never got a movie from that phase of her career, but around 2016 Shlesinger seemed to decide “If you can’t beat them, join them” and pivoted away from original material to join the mainstream pop culture and deliver the same Men are Pigs jokes that has proliferated since the 80s. Now instead of manipulating everything behind the scenes, the women of Shlesinger’s acts were perennial victims of a patriarchal society and every minute of every day was a torture for them.

Which brings us to  Good on Paper,  Shlesinger’s film debut, written by her and directed by TV alum Kimmy Gatewood, the film side-steps and twists the traditional rom-com while remaining dull and blunted, Shlesinger unable to go for the jugular in relationship commentary and gender dynamics that she used to do so well.

The “semi-autobiographical” tale stars Shlesinger as, yes, a stand up comedian named Andrea who after a series of the usual failed relationships and cynicism meets Dennis (Ryan Hansen,  Veronica Mars ), a dorky but successful and wealthy guy caring for his ailing mother. The two become fast friends with Dennis helping Andrea audition, until things turn romantic much to Andrea’s surprise. The closer they get the more evasive Dennis becomes conveniently coming up with excuses to let Andrea see his house or meet his mother so Andrea and her friend (Margret Cho) set out to find out who he really is.

That  Good on Paper  eschews a rom-com format for a catfishing story investigated by a makeshift Scooby gang is a lot more fun than the alternative would have been, but Shlesinger, curiously enough is so busy rustling together plot mechanics of the mystery and make side-swiping pot shots at larger gender themes, that she doesn’t hone in on the comedy of the situation. On the rare occasion they do arrive, the jokes are broad and flat. Even the Hollywood commentary brings nothing new to the table, with Andrea being cast in some sci-fi weekly procedural called Space Cadet to get back at her acting rival. We get jokes about sexist writers stealing her ideas and jokes about how she looks older than her age. But in a post-Weinstein Hollywood era all of this could have been even more caustic, in a post-Weinstein era we know that you’re lucky if some sleazebag Hollywood producer only stole your jokes. The villain here is Dennis for going to outrageous lengths to deceive this girl into thinking that he checks all of her relationship boxes, when Shlesinger of a decade ago would have satirized a woman’s box-checking exercise itself as part of the problem.

Good on Paper  waivers between a mystery, a thriller, a gender commentary, a romance and a comedy without hitting any of those particularly deep. It’s entertaining, and I was moved along by the film’s solid pace to keep going and find out the truth and what Andrea would do when she learns truth – at which point the movie takes an even stranger tonal turn. If this wasn’t Iliza Shlesinger I wouldn’t have expected more, I wanted her first movie to make an impact. To be bold and incisive.  However, none of the film’s turns pop the movie to life beyond an effortless, easy Saturday night diversion.

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Good On Paper

When a single woman in her 30s decides to give love a chance, she ends up with a guy who looks very good on paper, the problem is that maybe he's not all he pretends to be. an offbeat comedy that sadly doesn't deliver as much as it should..

If you don't know who Iliza Shlesinger is, then you can check out some of her stand-up specials on Netflix. And tapping into that world is the basis for the movie Good On Paper . Having previously told a story about dating a guy who turned out to be just a teeny bit of a liar, Shlesinger has managed to create a full-on feature film from it. She plays Andrea Singer, a stand-up comedian who has been putting her career ahead of romance. Now in her 30s, she has decided that maybe she should give guys a chance and that's when she meets Dennis.

Having just bombed in an audition, she ends up sitting next to him on the aeroplane. He's charming, funny, went to Yale, is a hedge fund manager and while not necessarily her type, she at least likes spending time with him. So the two become friends until Dennis (Ryan Hansen) wants more and Andrea finally decides to dive in and go with it. But as the months roll on, things become a little odd.

She has never met his friends or family, never been to his house, doesn't really know where he works and any attempts to get to know him better are batted away with increasingly strange excuses. So while Dennis might look Good On Paper , the reality is very different. Even her friends (Margaret Cho and Rebecca Rittenhouse) know something is up with the guy!

The problem with Good On Paper , is exactly that – the story looked good on paper. The translation to the big screen is a little more underwhelming. It's so obvious from the outset that Dennis is not all he's cracked up to be that I find it hard to imagine a smart, successful, usually very intuitive woman, could fall for even half the bullsh*t that he spouts as the movie goes on.

And honestly, it's not even like she's really that into him. I could understand being blinded by love but she's so reluctant the whole way along that it should have been very obvious. That's not a spoiler by the way, as the entire plot of the movie is based on well known stand-up routine.

There is a small twist at the end but really isn't enough to redeem what is otherwise a mediocre film. Funny in parts, a more off-beat comedy but one that at times is tough to watch with zero chemistry between the leads!

• Different Look At Dating
• Funny In Parts
• More Of An Offbeat Comedy
• Painfully Obvious Plot
• Not Believable At All
• No Onscreen Chemistry

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'Civil War' review: Kirsten Dunst leads visceral look at consequences of a divided America

We see “Civil War” trending on social media all too commonly in our divided country, for one reason or another, and usually nodding to extreme cultural or ideological differences. With his riveting new action thriller of the same name, writer/director Alex Garland delivers a riveting cautionary tale that forces viewers to confront its terrifying real-life consequences.

“Civil War” (★★★½ out of four; rated R; in theaters Friday) imagines a near-future America that’s dystopian in vision but still realistic enough to be eerily unnerving. It's a grounded, well-acted ode to the power of journalism and a thought-provoking, visceral fireball of an anti-war movie.

Played exceptionally by Kirsten Dunst , Lee is an acclaimed war photographer covering a fractured America: The Western Forces led by California and Texas have seceded from the USA and are days away from a final siege on the federal government. Lee and her reporting partner Joel (Wagner Moura) have been tasked with traveling from New York City to Washington to interview the president (Nick Offerman) before the White House falls.

After visually capturing humanity's worst moments, Lee is as world-weary and jaded as one can be. But after saving aspiring photographer Jessie (Cailee Spaeny) during a Brooklyn suicide bombing, Lee becomes a reluctant mentor as the young woman worms her way into their crew. Also in the press van: senior journalist Sammy (Stephen McKinley Henderson), hitching a ride to the Western Forces military base in Charlottesville, Virginia.

Most of “Civil War” is an episodic odyssey where Lee and company view the mighty toll taken by this conflict: the graveyard of cars on what’s left of I-95, for example, or how an innocent-looking holiday stop turns deadly courtesy of an unseen shooter. Primarily, however, it’s a disturbing internal examination of what happens when we turn on each other, when weekend warriors take up arms against trained soldiers, or armed neighbors are given a way to do bad things to people they just don’t like.

'No dark dialogue!': Kirsten Dunst says 5-year-old son helped her run lines for 'Civil War'

Given its polarizing nature, “Civil War" is actually not that "political." Garland doesn’t explain what led to the secession or much of the historical backstory, and even Offerman’s president isn’t onscreen enough to dig into any real-life inspirations, outside of some faux bluster in the face of certain defeat. (He’s apparently in his third term and dismantled the FBI, so probably not a big Constitutionalist.)

Rather than two hours of pointing fingers, Garland is more interested in depicting the effect of a civil war rather than the cause. As one sniper points out in a moment when Lee and Joel are trying not to die, when someone’s shooting a gun at you, it doesn’t matter what side you’re on or who’s good and who's bad.

The director’s intellectual filmography has explored everything from ecological issues ( “Annihilation” ) to AI advancement ( “Ex Machina” ), and there are all sorts of heady themes at play in “Civil War.” “What kind of American are you?” asks a racist soldier played with a steady, ruthless cruelty by Jesse Plemons (Dunst's husband) in a disturbing scene that nods to an even deeper conflict in society than the one torching this fictionalized version. There's also an underlying sense of apathy that the characters face, with hints that much of the country is just willfully ignoring the conflict because they'd rather not think about it. But this hellish road trip also maintains a sense of hopefulness − via the growing relationship between Lee and Jessie – and is pretty exciting even with its multitude of horrors.

'You get paid a lot of money': Kirsten Dunst says she's open for another superhero movie

“Civil War” is a thoughtful movie with blockbuster ambitions, and while it does embrace more of a straightforward action flick vibe toward its climactic end, Garland still lands a lasting gut punch. He immerses audiences in the unpredictable nature of war, with gunfire and explosions leaving even the calmest sort on edge, and paints a sprawling canvas of an America forever changed. Thankfully, it’s just a warning and not a promise, using the movie theater as a public service announcement rather than an escape from the real world.

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Stream It Or Skip It: ‘Good Times’ On Netflix, A Profanity-Laden Update Of Norman Lear’s Classic 1970s Sitcom

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There was a lot of controversy about the animated update of Good Times when the trailer came out in March, and Netflix didn’t give critics any episodes to review, which is always a bad sign. The trailer promised that this new version, one of Norman Lear’s last projects before he died last December, would be edgier and raunchier than the 1974-79 original. But is it funny?

GOOD TIMES : STREAM IT OR SKIP IT?

Opening Shot: Reggie Evans (JB Smoove) is in the shower, singing the old Good Times theme. The song is a duet with a nearby cockroach.

The Gist: Reggie lives in the same apartment — 17 C — where his grandparents, James and Florida Evans, used to live. It doesn’t even look much different from when they lived there 50 years ago. His wife Beverly (Yvette Nicole Brown) is busily trying to make the place shine in order to win a projects-wide beautification contest. Oldest son Junior (Jay Pharoah) was tasked to paint the walls, but instead paints a mural of Black Jesus.

Youngest daughter Grey (Marsai Martin) is out protesting the danger of processed foods pose to the community on the South Side of Chicago. And the baby of the family, Dalvin (Gerald Anthony “Slink” Johnson), doesn’t even live there anymore, even though he’s literally a baby; Reggie kicked him out of the house for dealing drugs.

Beverly desperately wants to win the contest, and prove to Delphine (Tisha Campbell), the officious older lady who is the judge, that this generation of the Evans family aren’t a bunch of screw ups. But when Delphine tells her that “Drug Dealing Baby” is an automatic disqualification, she promises that a baptized Dalvin will be in the apartment when Delphine comes by at 6 PM.

She prays to Black Jesus (Godfrey) for Dalvin’s return, and she suddenly lactates, meaning he’s around. Why he’s there isn’t exactly a miracle; he’s running from a group of toddlers who want to take over his turf. She speeds him to her bestie, Lashes by Lisa (Rashida “Sheedz” Olayiwola), who runs all sorts of businesses out of her apartment, so she can get Dalvan a quickie baptism.

In the meantime, the heat was shut off, right in the middle of Reggie’s shower, and Beverly spent his “secret stash” of money to decorate for the contest. Reggie tries to earn the heat money in his cab, but his passengers routinely stiff him with $24 bills and sobriety chips. So he tries to earn the money the honorable way: By hustling people at the local pool hall. He’s on a roll but doesn’t realize that Junior, whom he brought with him, is a pool prodigy. All of that goes by the wayside, though, when Dalvan is kidnapped by the rival toddlers. Grey, who was with Dalvan when he was grabbed, was too weak from her latest hunger strike; it gets so bad, flies buzz around her head as if she was already rotting away.

What Shows Will It Remind You Of? Ranada Shepard ( Diary Of A Future President ) is the creator and showrunner of this version of Good Times , but the late Norman Lear and Seth MacFarlane are listed as executive producers (Lear even voiced a small role before his death last December). In a lot of ways, this version of Good Times feels like a cross between Lear, Mike Evans and Eric Monte’s original 1974-79 sitcom and MacFarlane’s Family Guy .

Our Take: There was a lot of controversy about this animated Good Times update when the trailer came out last month, and Netflix didn’t give critics any episodes to review, which is always a bad sign. And, through the first two episodes, what people hated about the trailer was very evident.

The new Good Times is certainly absurd, and perpetuates a lot of negative stereotypes. It’s not afraid to push the envelope as far as language and nudity are concerned. And the character of Dalvan makes Family Guy ‘s Stewie look like a real baby in comparison. But the show’s biggest offense, at least during the two episodes we watched, is that it’s just not funny.

The mistake that Shepard and her writers make is something that the producers of animated comedies have been making for 35 years, since The Simpsons hit it big. They try to push buttons and make things edgy; they push for the absurd at every turn. But in the process, they forget to concentrate on who the characters are and create stories that speak to where those characters are now and where they are going.

There are some interesting characters in this version of Good Times , notably Grey and Junior. Yes, they insult each other like J.J. and Thelma did in the original series. But Grey is smart and ambitious with concurrent streaks of both empathy and deviousness. In fact, she’s not all that much different than Marsai’s blackish character Diane Johnson. In the second episode, we see that Junior, like J.J. before him, isn’t dumb but is actually a pretty brilliant artist, and his creativity rules his brain at all times.

In essence, the new Good Times suffers from the same problem the original one did, the problem that led both John Amos and Esther Rolle to quit the series (though Rolle was persuaded to come back): Too much emphasis on the silly and absurd and not enough emphasis on characters and stories. What are Black families like the Evanses facing in 2024 Chicago, and how can the strength of their family unit help them deal with those issues? There’s a way to do this that still has room for silliness. There’s even a way to do this that still leaves room for a drug-dealing baby (there’s less Dalvan in the second episode, which is a good sign, as he’s a character that’s best taken in small doses, no pun intended). We’re just not sure we’ll see any of that in this show’s first season.

Sex and Skin: We see a lot of naked Reggie in the first episode. In the second episode, Reggie and Beverly have a two-minute round of loving.

Parting Shot: Dalvan has decided to move in upstairs (we’ll let you see how that goes down). Reggie’s reaction is a reference to the original series, one of a number of callbacks in that first episode.

Sleeper Star: If you listen carefully, original cast members Jimmie Walker and Bern Nadette Stanis voice a couple of small roles in the first episode. Most Pilot-y Line: Is there anything in this episode that is more shocking than a drug-dealing baby? Probably not.

Our Call: SKIP IT. There is actual potential in the new animated version of Good Times , but Shepard and her writers are too busy pushing the envelope to take advantage of that potential.

Joel Keller ( @joelkeller ) writes about food, entertainment, parenting and tech, but he doesn’t kid himself: he’s a TV junkie. His writing has appeared in the New York Times, Slate, Salon, RollingStone.com , VanityFair.com , Fast Company and elsewhere.

• Good Times (2024)
• Stream It Or Skip It

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Review: ‘The First Omen’ plays to the faithful, but more nun fun is to be had elsewhere

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“The First Omen,” as it happens, is neither the first “Omen” (1976’s half-loved horror hit ) nor the first “Omen” reboot (a misbegotten 2006 attempt ). It’s not even this spring’s first movie about nuns in trouble and baby bumps in the night; that would be March’s “Immaculate” starring an unbound Sydney Sweeney , a film that compares favorably to this one for being crazier, gorier and ultimately more defiant.

But “The First Omen” does have a certain swagger, like it was the only evil-pregnancy thriller in the world. Let’s credit debuting feature director Arkasha Stevenson (a former photographer for this paper) with the stylishness to pull off a potent sense of atmosphere and the kind of lovely period detail that deep studio pockets can fund but rarely have cause to summon. The movie is set in the seething, hippified Rome of 1971, a shaggy backdrop straight out of Federico Fellini’s “Roma” or, more aptly, Dario Argento ’s post-Manson masterworks “The Bird With the Crystal Plumage” and “Four Flies on Grey Velvet.”

Traipsing into these lushly hued shadows is Margaret (Nell Tiger Free of “Game of Thrones”), a wide-eyed novitiate who is quickly supplied with the type of companions that naive Americans typically get in these movies. There’s a kindly-but-clearly-malevolent mentor, Cardinal Lawrence ( Bill Nighy ), a louche, sexually experienced roommate unlikely to be taking vows anytime soon named Luz (Maria Caballero) and a spooky overseer, Sister Silvia ( Sônia Braga ).

Margaret, it is hoped, will be able to connect to the wayward generation currently protesting in the streets. (“A rejection of authority,” sighs Nighy’s cleric — as scripted by Stevenson, Tim Smith and Keith Thomas, this is a film that often says the quiet part out loud.) But mainly we’re waiting for the creaking, clanking scaffolding mishaps of “Omen” movies of yore: the rooftop suicide leaps and mark-of-the-beast reveals. Those moments do arrive, confidently, in ways that fans will tick off approvingly without ever being wholly traumatized by.

There is a genius at work here, though: the makeup and prosthetics designer Adrien Morot , elsewhere the creator of the vicious robot girl in “M3GAN” and an Oscar winner for “The Whale.” Morot has a gooey ball with these full-to-bursting wombs; one nightmarish image, surely pushing the R-rating to the limit, shows an unlikely clawed digit emerging from where delivery doctors would anticipate a crowned head. (I can’t wait to watch this on a plane.)

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How long will it be before Margaret, teetering around in heels at a disco, suffers a mysterious pregnancy that somehow manifests in weeks, not months? Don’t question “The First Omen” too hard. Its dark magic, such that it works, functions in sensory impressions: the gravelly basso of “ The Witch” star Ralph Ineson’s voice (a special effect in itself) or the choral doom of Jerry Goldsmith’s original score from 1976, revived to fine effect.

The problem, of course, is that you know where this is going. You even know, somehow, that the final word uttered in the film will be a boy’s name, famous to even non-horror fans. A prequel to one of the most conservative movies of the 1970s, “The First Omen” is destined to disappoint anyone hoping for something a little more imaginative. It brings us straight to Gregory Peck’s ambassador, detailing a backstory we never needed in the first place. But it mainly speaks in a language of suspense, not jump scares, and if you ever wanted to spoil an omen with an omen beforehand, it should get you converted for a couple of hours.

'The First Omen'

Rating: R, for violent content, grisly/disturbing images, and brief graphic nudity Nunning time: 2 hours Playing: Now in wide release

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Joshua Rothkopf is film editor of the Los Angeles Times. He most recently served as senior movies editor at Entertainment Weekly. Before then, Rothkopf spent 16 years at Time Out New York, where he was film editor and senior film critic. His writing has appeared in the New York Times, Sight and Sound, Empire, Rolling Stone and In These Times, where he was chief film critic from 1999 to 2003.

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‘Food, Inc. 2’ Review: A Second Course

Directed by Robert Kenner and Melissa Robledo, the sequel about food production in the U.S. is, in some ways, a more hopeful film.

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By Ben Kenigsberg

How many gory details about groceries can any moviegoer digest? The 2009 documentary “Food, Inc.” drew on the muckraking of Michael Pollan ( “The Omnivore’s Dilemma” ) and Eric Schlosser ( “Fast Food Nation” ) to reveal major problems with industrialized food production. The system, it argued, may keep supermarkets well-stocked, but most people have scant insight into how that food is made — and what it does to our health.

“Food, Inc. 2,” directed by Robert Kenner and Melissa Robledo, doesn’t merely regurgitate those ideas, although it begins by describing how the last few years have shown the risks of letting a small number of mega-suppliers dominate the market. The baby formula shortage ? Cramped meatpacking plants that became Covid-19 hot spots ? An industry less prone to gigantism might have avoided those horrors.

In some ways, the sequel is a more hopeful film. Pollan, who, along with Schlosser, is among the producers, notes the proliferation of farmers’ markets and grass-fed beef since the last movie’s release. (The credits list separate articles that the authors wrote in 2020 as inspiration.) “Food, Inc. 2” is also wonkier than the original: Its proposed solutions don’t simply boil down to finding better sources, but also enforcing antitrust policy, supporting fair-labor practices and finding new ways to return to time-tested farming methods .

Pollan visits sites where meat alternatives are manufactured and explains how those products present their own trade-offs. Elsewhere, experts testify to how foods can confuse our brains’ reward systems and how U.S. companies, faced with a food supply that provides more calories than anyone needs, have an incentive to make consumers eat more. You might devour less after watching “Food, Inc. 2,” and what you eat will probably be healthier.

Food, Inc. 2 Not rated. Running time: 1 hour 34 minutes. Rent or buy on most major platforms .

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The best AI image generators to try right now

If you've ever searched Google high and low to find an image you needed to no avail, artificial intelligence (AI) may be able to help. 

With AI image generators, you can type in a prompt as detailed or vague as you'd like to fit an array of purposes and have the image you were thinking of instantly pop up on your screen. These tools can help with branding, social media content creation, and making invitations, flyers, business cards, and more.

Also: ChatGPT no longer requires a login, but you might want one anyway. Here's why

Even if you have no professional use for AI, don't worry -- the process is so fun that anyone can (and should) try it out.

OpenAI's DALL-E 2 made a huge splash because of its advanced capabilities as the first mainstream AI image generator. However, since its initial launch, there have been many developments. Other companies have released models that rival DALL-E 2, and OpenAI even released a more advanced model known as DALL-E 3 , discontinuing its predecessor. 

To help you discover which models are the best for different tasks, I put the image generators to the test by giving each tool the same prompt: "Two Yorkies sitting on a beach that is covered in snow". I also included screenshots to help you decide which is best. 

Also: DALL-E adds new ways to edit and create AI-generated images. Learn how to use it

While I found the best overall AI image generator is Image Creator from Microsoft Designer , due to its free-of-charge, high-quality results, other AI image generators perform better for specific needs. For the full roundup of the best AI image generators, keep reading. 

The best AI image generators of 2024

Image creator from microsoft designer (formerly bing image creator), best ai image generator overall.

• Powered by DALL-E 3
• Convenient to access
• Need a Microsoft account
• In preview stage

Image Creator from Microsoft Designer is powered by DALL-E 3, OpenAI's most advanced image-generating model. As a result, it produces the same quality results as DALL-E while remaining free to use as opposed to the $20 per month fee to use DALL-E. 

All you need to do to access the image generator is visit the Image Creator website and sign in with a Microsoft account. 

Another major perk about this AI generator is that you can also access it in the same place where you can access Microsoft's AI chatbot, Copilot (formerly Bing Chat) . 

This capability means that in addition to visiting Image Creator on its standalone site, you can ask it to generate images for you in Copilot. To render an image, all you have to do is conversationally ask Copilot to draw you any image you'd like. 

Also:   How to use Image Creator from Microsoft Designer (formerly Bing Image Creator)

This feature is so convenient because you can satisfy all your image-generating and AI-chatting needs in the same place for free. This combination facilitates tasks that could benefit from image and text generation, such as party planning, as you can ask the chatbot to generate themes for your party and then ask it to create images that follow the theme.

Image Creator from Microsoft Designer f eatures:  Powered by:  DALL-E 3 |  Access via:  Copilot, browser, mobile |  Output:  4 images per prompt |  P rice:  Free 

DALL-E 3 by OpenAI

Best ai image generator if you want to experience the inspiration.

• Not copyrighted
• Accurate depictions
• Confusing credits

OpenAI, the AI research company behind ChatGPT, launched DALL-E 2 in November 2022. The tool quickly became the most popular AI image generator on the market. However, after launching its most advanced image generator, DALL-E 3, OpenAI discontinued DALL-E 2. 

DALL-E 3 is even more capable than the original model, but this ability comes at a cost. To access DALL-E 3 you must be a ChatGPT Plus subscriber, and the membership costs $20 per month per user. You can access DALL-E 3 via ChatGPT or the ChatGPT app.

Using DALL-E 3 is very intuitive. Type in whatever prompt you'd like, specifying as much detail as necessary to bring your vision to life, and then DALL-E 3 will generate four images from your prompt. As you can see in the image at the top of the article, the renditions are high quality and very realistic.

OpenAI even recently added new ways to edit an image generated by the chatbot, including easy conversational text prompts and the ability to click on parts of the image you want to edit. 

Like with Copilot, you can chat and render your images on the same platform, making it convenient to work on projects that depend on image and text generation. If you don't want to shell out the money,  Image Creator by Designer  is a great alternative since it's free, uses DALL-E 3, and can be accessed via Copilot.

DALL-E 3 features: Powered by:  DALL-E 3 by OpenAI |  Access via:  ChatGPT website and app |  Output:  4 images per credit |  Price:  ChatGPT Plus subscription, $20 per month

ImageFX by Google

The best ai image generator for beginners.

• Easy-to-use
• High-quality results
• Expressive chips
• Need a Google account
• Strict guardrails can be limiting

Google's ImageFX was a dark horse, entering the AI image generator space much later than its competition, over a year after DALL-E 2 launched. However, the generator's performance seems to have been worth the wait. The image generator can produce high-quality, realistic outputs, even objects that are difficult to render, such as hands. 

Also: I just tried Google's ImageFX AI image generator, and I'm shocked at how good it is

The tool boasts a unique feature, expressive chips, that make it easier to refine your prompts or generate new ones via dropdowns, which highlight parts of your prompt and suggest different word changes to modify your output.

ImageFX also includes suggestions for the style you'd like your image rendered in, such as photorealistic, 35mm film, minimal, sketch, handmade, and more. This combination of features makes ImageFX the perfect for beginners who want to experiment. 

ImageFX from Google: Powered by:  Imagen 2  | Access via:  Website |  Output:  4 images |  Price:  free 

DreamStudio by Stability AI

Best ai image generator for customization.

• Accepts specific instruction
• Open source
• More entries for customization
• Paid credits
• Need to create an account

Stability AI created the massively popular, open-sourced, text-to-image generator, Stable Diffusion. Users can download the tool and use it at no cost. However, using this tool typically requires technical skill. 

Also :  How to use Stable Diffusion AI to create amazing images

To make the technology readily accessible to everyone (regardless of skill level), Stability AI created DreamStudio, which incorporates Stable Diffusion in a UI that is easy to understand and use. 

One of the standouts of the platform is that it includes many different entries for customization, including a "negative prompt" where you can delineate the specifics of what you'd like to avoid in the final image. You can also easily change the image ratio -- that's a key feature, as most AI image generators automatically deliver 1:1. 

DreamStudio features: Powered by:  SDXL 1.0 by Stability AI  | Access via:  Website |  Output:  1 image per 2 credits |  Price:  $1 per 100 credits |  Credits:  25 free credits when you open an account; buy purchase once you run out

Dream by WOMBO

Best ai image generator for your phone.

• Remix your own images
• Multiple templates
• One image per prompt
• Subscription cost for full access

This app took the first-place spot for the best overall app in Google Play's 2022 awards , and it has five stars on Apple's App Store with 141.6K ratings. With the app, you can create art and images with the simple input of a quick prompt. 

An added plus is this AI image generator allows you to pick different design styles such as realistic, expressionist, comic, abstract, fanatical, ink, and more. 

Also :  How to use Dream by WOMBO to generate artwork in any style

In addition to the app, the tool has a free desktop mobile version that is simple to use. If you want to take your use of the app to the next level, you can pay $90 per year or $10 per month.

Dream by WOMBO f eatures: Powered by:  WOMBO AI's machine-learning algorithm |  Access via:  Mobile and desktop versions |  Output:  1 image with a free version, 4 with a paid plan |  Price:  Free limited access

Best no-frills AI image generator

• Unlimited access
• Simple to use
• Longer wait
• Inconsistent images

Despite originally being named DALL-E mini, this AI image generator is NOT affiliated with OpenAI or DALL-E 2. Rather, it is an open-source alternative. However, the name DALL-E 2 mini is somewhat fitting as the tool does everything DALL-E 2 does, just with less precise renditions. 

Also :  How to use Craiyon AI (formerly known as DALL-E mini)

Unlike DALL-E 2, the outputs from Craiyon lack quality and take longer to render (approximately a minute). However, because you have unlimited prompts, you can continue to tweak the prompt until you get your exact vision. The site is also simple to use, making it perfect for someone wanting to experiment with AI image generators. It also generates six images, more than any other chatbot listed. 

Craiyon f eatures: Powered by:  Their model |  Access via :  Craiyon website  |  Output:  6 images per prompt |  Price:  Free, unlimited prompts 

Best AI image generator for highest quality photos

• Very high-quality outputs
• Discord community
• Monthly cost
• Confusing to set up

I often play around with AI image generators because they make it fun and easy to create digital artwork. Despite all my experiences with different AI generators, nothing could have prepared me for Midjourney -- in the best way. 

The output of the image was so crystal clear that I had a hard time believing it wasn't an actual picture that someone took of my prompt. This software is so good that it has produced award-winning art .

However, I think Midjourney isn't user-friendly and it confuses me. If you also need extra direction, check out our step-by-step how-to here: How to use Midjourney to generate amazing images and art .

Another problem with the tool is that you may not access it for free. When I tried to render images, I got this error message: "Due to extreme demand, we can't provide a free trial right now. Please subscribe to create images with Midjourney."

To show you the quality of renditions, I've included a close-up below from a previous time I tested the generator. The prompt was: "A baby Yorkie sitting on a comfy couch in front of the NYC skyline." 

Midjourney f eatures: Powered by:  Midjourney; utilizes Discord |  Access via:  Discord |  Output:  4 images per prompt |  Price:  Starts at $10/month

Adobe Firefly

Best ai image generator if you have a reference photo.

• Structure and Style Reference
• Commercial-safe
• Longer lag than other generators
• More specific prompts required

Adobe has been a leader in developing creative tools for creative and working professionals for decades. As a result, it's no surprise that its image generator is impressive. Accessing the generator is easy. Just visit the website and type the prompt of the image you'd like generated. 

Also: This new AI tool from Adobe makes generating the images you need even simpler

As you can see above, the images rendered of the Yorkies are high-quality, realistic, and detailed. Additionally, the biggest standout features of this chatbot are its Structure Reference and Style Reference features. 

Structure Reference lets users input an image they want the AI model to use as a template. The model then uses this structure to create a new image with the same layout and composition. Style Reference uses an image as a reference to generate a new image in the same style. 

These features are useful if you have an image you'd like the new, generated image to resemble, for example, a quick sketch you drew or even a business logo or style you'd like to keep consistent. 

Another perk is that Adobe Firefly was trained on Adobe Stock images, openly licensed content, and public domain content, making all the images generated safe for commercial use and addressing the ethics issue of image generators. 

Adobe Firefly f eatures:  Powered by:  Firefly Image 2 |  Access via:  Website |  Output:  4 images per prompt |  P rice:  Free 

Generative AI by Getty Images

Best ai image generator for businesses.

• Commercially safe
• Contributor compensation program
• Personalized stock photos
• Not clear about pricing
• Not individual-friendly

One of the biggest issues with AI image generators is that they typically train their generators on content from the entirety of the internet, which means the generators use aspects of creators' art without compensation. This approach also puts businesses that use generators at risk of copyright infringement. 

Generative AI by Getty Images tackles that issue by generating images with content solely from Getty Images' vast creative library with full indemnification for commercial use. The generated images will have Getty Images' standard royalty-free license, assuring customers that their content is fair to use without fearing legal repercussions.

Another pro is that contributors whose content was used to train the models will be compensated for their inclusion in the training set. This is a great solution for businesses that want stock photos that match their creative vision but do not want to deal with copyright-related issues. 

ZDNET's Tiernan Ray went hands-on with the AI image generator. Although the tool did not generate the most vivid images, especially compared to DALL-E, it did create accurate, reliable, and useable stock images. 

Generative AI by Getty Images f eatures:  Powered by:  NVIDIA Picasso |  Access via:  Website |  Output:  4 images per prompt |  P rice:  Paid (price undisclosed, have to contact the team)

What is the best AI image generator?

Image Creator from Microsoft Designer is the best overall AI image generator. Like DALL-E 3, Image Creator from Microsoft Designer combines accuracy, speed, and cost-effectiveness, and can generate high-quality images in seconds. However, unlike DALL-E 3, this Microsoft version is entirely free.

Whether you want to generate images of animals, objects, or even abstract concepts, Image Creator from Microsoft Designer can produce accurate depictions that meet your expectations. It is highly efficient, user-friendly, and cost-effective.

Note: Prices and features are subject to change.

Which is the right AI image generator for you?

Although I crowned Image Creator from Microsoft Designer the best AI image generator overall, other AI image generators perform better for specific needs. For example, suppose you are a professional using AI image generation for your business. In that case, you may need a tool like Generative AI by Getty Images which renders images safe for commercial use. 

On the other hand, if you want to play with AI art generating for entertainment purposes, Craiyon might be the best option because it's free, unlimited, and easy to use. 

How did I choose these AI image generators?

To find the best AI image generators, I tested each generator listed and compared their performance. The factors that went into testing performance included UI/UX, image results, cost, speed, and availability. Each AI image generator had different strengths and weaknesses, making each one the ideal fit for individuals as listed next to my picks. 

What is an AI image generator?

An AI image generator is software that uses AI to create images from user text inputs, usually within seconds. The images vary in style depending on the capabilities of the software, but can typically render an image in any style you want, including 3D, 2D, cinematic, modern, Renaissance, and more. 

How do AI image generators work?

Like any other AI model, AI image generators work on learned data they are trained with. Typically, these models are trained on billions of images, which they analyze for characteristics. These insights are then used by the models to create new images.

Are there ethical implications with AI image generators?

AI image generators are trained on billions of images found throughout the internet. These images are often artworks that belong to specific artists, which are then reimagined and repurposed by AI to generate your image. Although the output is not the same image, the new image has elements of the artist's original work not credited to them. 

Are there DALL-E 3 alternatives worth considering?

Contrary to what you might think, there are many AI image generators other than DALL-E 3. Some tools produce even better results than OpenAI's software. If you want to try something different, check out one of our alternatives above or the three additional options below. 

Nightcafe is a multi-purpose AI image generator. The tool is worth trying because it allows users to create unique and original artwork using different inputs and styles, including abstract, impressionism, expressionism, and more.

Canva is a versatile and powerful AI image generator that offers a wide range of options within its design platform. It allows users to create professional-looking designs for different marketing channels, including social media posts, ads, flyers, brochures, and more. 

Artificial Intelligence

The best ai chatbots: chatgpt isn't the only one worth trying, google and mit launch a free generative ai course for teachers, dall-e adds new ways to edit and create ai-generated images. learn how to use it.

A man from Vietnam feels rooted nowhere in bold HBO series ‘The Sympathizer’

Adaptation of the pulitzer-winning novel boasts intriguing characters, glorious dialogue and lots of robert downey jr..

Hoa Xuande (left) stars in “The Sympathizer” alongside Robert Downey Jr., who plays four roles.

Even before the Captain comes to America, he cannot easily be defined. He is a man of two cultures but doesn’t quite belong to either. He is a man of two countries but no country. He is a man of two loyalties but perhaps no loyalties.

If that sounds dense and complex and yet intriguing, so it goes with the HBO limited series “The Sympathizer,” which is based on Viet Thanh Nguyen’s 2015 Pulitzer Prize-winning novel of the same name. This is one wild and at times murky and tricky ride, but there’s no denying the talent of the creative forces driving this work.

Veering in tone from historical drama to political/social commentary to pitch-black satirical comedy, this seven-part series from showrunners Don McKellar (“Last Night,” “The Red Violin”) and Park Chan-wook (“Oldboy,” “The Handmaiden”), is set during the Vietnam War and its immediate aftermath. Featuring dazzling camerawork, impressively staged set pieces (including a movie-within-the-series) and searing performances from the ensemble cast, “The Sympathizer” is a bold, disturbing and original work.

On occasion, it feels as if we’re spending a little bit too much time with fringe characters who aren’t nearly as captivating as the main players, but the dialogue sings and the visuals are never less than stunning, and the performances range from solid to great.

Hoa Xuande, an extraordinarily versatile Australian actor of Vietnamese descent, expertly handles the challenging and complicated role of the nameless figure known to us only as the Captain, whose entire existence feels like two sides of a coin. He’s the son of a Vietnamese woman and a French man who feels like an outsider in Vietnam and again when he comes to America. He’s a double agent, a communist sympathizer who has been embedded with the South Vietnam army, for so long, one can reasonably wonder if it has affected his judgment. Even the Captain’s close bonds with childhood friends Bon (Fred Nguyen Khan) and Man (Duy Nguyen) are filled with subterfuge and misdirection, given that Bon loathes the Viet Cong, while Man is also undercover and is the Captain’s VC handler.

The story of “The Sympathizer” is told in the form of a yearlong confession the Captain has been writing from prison. We move back and forth along the timeline, with the main storyline kicking off with the fall of Saigon, which is depicted in pulse-pounding fashion and highlighted by a cinematically rendered sequence in which dozens of men, women and children race to board the last planes out during Operation Frequent Wind — and not all of them make it. As directed by Park Chan-wook, it is pure bravura filmmaking, and it will leave you shaken.

Even after the Captain has arrived in Los Angeles, he is tasked with keeping tabs on his longtime boss, the General (Toan Le), an erratic figure who has opened a liquor store but still has delusions about returning home with a militia. We also follow the storylines of a number of other key figures, including Sofia Mori (the always wonderful Sandra Oh), a Japanese American woman who becomes a love interest for the Captain; Sonny (Alan Trong, excellent), a socialist journalist, and Lana (a captivating Vy Le), the General’s daughter, who dreams of becoming a star in America. Things get ever more complicated in California, and let’s just say the bloodshed didn’t stop in Vietnam.

Sandra Oh plays a love interest for title character in “The Sympathizer.”

This now brings us to the Robert Downey Jr. portion of the program, and it’s an absolute pleasure to watch Downey sinking his chops into a quartet of roles, including a scuzzy and cynical and manipulative operative for the CIA; a self-aggrandizing “Oriental Studies” professor who engages in cultural appropriation; a right-wing congressman who for some reason looks alarmingly like 1980s Roy Scheider and sounds a bit like “Dirty Harry” Clint Eastwood, and most memorably, a megalomaniacal director with shades of Coppola and Oliver Stone who is making a Vietnam epic and isn’t particularly concerned if he offends cultures and injures a few extras along the way. Downey is squarely in Peter Sellers/“Dr. Strangelove” territory here, and he’s one of the relatively few actors who can invite and match up to such a comparison.

Still, for all of Downey’s fantastically flashy antics, this is primarily the story of the Captain and all the colleagues, friends, loved ones and enemies he has encountered along the way, leaving behind a trail of blood, regret and fears. “The Sympathizer” tells the story of the Vietnam War and its repercussions from a different viewpoint than the one we’re most accustomed to seeing, and it’s effective in a most unsettling and thought-provoking way.