Late Night

With a sweet romcom beating heart at its center -- even if the "romance" is a platonic friendship between two formidable women -- this movie is predictable but lots of fun. The main thing that sells it is Kaling, who hasn't been this charming since The Office. Improbably handed a network TV writing job, Molly's radiant happiness at this life-changing event is beautiful to behold. "I just really, really love television," she explains through tears; it's easy to picture a young Kaling having the same reaction when she landed her first writing job -- for The Office, through NBC's diversity program. (It's clear that Kaling was taking notes.) "I'd rather be a diversity hire than a nepotism hire," Molly says to snippy head monologue writer Tom (Reid Scott). "At least I had to beat out every other woman and minority to get here. You just had to be born."

Zing! It may be hard for certain types of viewers to resist giving a little fist pump to lines like this and others that skewer (among other things) white privilege, ageism, misogyny, and classism. Through it all, Molly is a fearless underdog who (eventually) -- spoiler alert, but you knew it was coming anyway -- succeeds through talent and hard work in a workplace that's so hostile to women that the women's bathroom is used exclusively by Newbury's male staff for bowel movements. It's a joy to watch. And while it's a shame that Kaling seemingly has to create these types of meaty, nuanced roles for herself and other women, it's great that she does.