Another Simple Favor streams on Prime Video beginning May 1. This review is based on a screening at the 2025 SXSW Film and Television Festival.
A sequel doesn’t have to be bigger, although many of them, including Another Simple Favor, choose to go this route. It doesn’t even have to be better, really, given the low expectations audiences historically have for follow-ups. What it has to be is more – specifically, more of whatever made the first film work well enough to justify a second one.
In the case of A Simple Favor, the thing that charmed audiences enough to bring in five times the budget was the effervescent chemistry between stars Blake Lively and Anna Kendrick (with some delicious bon mots and fabulous costume design as a bonus). The sequel delivers more of all these things: Kendrick is still tiny and spunky, the queen of the skeptical head tilt and sassy comeback. And Lively is still tall and unflappable, intriguing and intimidating at the same time.
The script gives them plenty of witty lines to volley back and forth, with enough left over for supporting players like Andrew Rannells, who tells his young daughter early in the film, “If you can’t be smart, be funny. If you can’t be funny, be pretty.” That’s typical of the script’s pithy, bitchy dialogue, written by returning screenwriter Jessica Sharzer along with Altered Carbon creator Laeta Kalogridis.
Another Simple Favor takes the action to Italy, where Emily (Lively) and Stephanie (Kendrick) reunite at the former’s wedding on the stunning island of Capri. At risk of spoilers, the natural question here is, “Didn’t Emily go to jail at the end of the last movie?” Yes, and true to the movie’s tongue-in-cheek tone, that’s explained away with a single line after Emily stomps back into Stephanie’s life in a pair of rhinestone-studded stiletto boots. Stephanie owes Emily – you guessed it – another favor, given the whole “sending her to prison after having sex with her husband, and then writing a book about it” thing.
Henry Golding is back as Emily’s errant now-ex-spouse, and his (unfortunately brief, for reasons best not explained here) appearance in the film is a comedic highlight. Weddings also bring family members back into the fold, and Allison Janney joins the cast as Emily’s estranged aunt Linda, who’s more conniving and dangerous than she appears. And of course there must be a husband, and Michele Morrone does his duty being hunky and a little scary as Emily’s betrothed Dante, who’s the heir to a massive fortune no one wants to talk about. (The Mafia. It’s the Mafia.)
Dante is using Emily, Emily is using Stephanie, Aunt Linda is obviously up to something, and bodies keep appearing in inconvenient places as this cutthroat crew prepares for the big day. One innovation Another Simple Favor brings to its Agatha Christie-esque plot is arranging events in a way that wrests them out of Emily’s control, and observing the shifts in her character and motivation that follow that change. This means that Stephanie is also out of control, which she hates, although her intelligence means that she’s never behind the curve for long.
There are a few too many plot threads for all of them to pay off – a subplot involving single mom Stephanie’s son Miles (Joshua Satine), conveniently away at a no-phones-allowed summer camp, goes nowhere, for example. And the film’s attempts to outdo its predecessor in intrigue are absurd in a way that’s sometimes fun, and sometimes off-puttingly bizarre. But this is Italy, birthplace of the giallo film. And intentionally or not, Another Simple Favor’s more lurid psychosexual twists are true to that particular genre.
If the plot escalations are variable, one area where bigger is unilaterally worse for Another Simple Favor is in the camerawork. Director Paul Feig is known for long takes designed not to interfere with his actors’ performances, and his lack of finesse with more complicated sequences is obvious in haphazardly assembled drone shots that sweep over the dramatic cliffs of Capri. This wouldn’t be that big of a deal, except that there are a lot of them, and they’re all nauseating.
Better to concentrate on what works: The performances, the script, and the costumes. Oh, the costumes. The contrast between Lively and Kendrick’s wardrobes tells you everything you need to know about their characters, with Lively’s breathtakingly luxe menswear-inspired ensembles contrasting with Kendrick’s momcore jean shorts and worn-out hoodies. She does get to wear some pretty dresses at the wedding festivities, in scenes that are smorgasbords of moneyed excess and natural splendor. Throw some slick Italo-pop on top, and you’ve got a piece of escapist entertainment that’s more clever than most. So what if it doesn’t always make sense?
