Magic Hour, 2026.
Directed by Katie Aselton.
Starring Katie Aselton, Daveed Diggs, Susan Sullivan, D.J. ‘Shangela’ Pierce, Brad Garrett, Leonora Pitts, Sabryna Williams, Jo Lopez, and Martin DeLuca.
SYNOPSIS:
Erin and Charlie escape to the desert to navigate an unexpected and challenging new phase of their relationship.
In the Joshua Tree desert area, a loving couple, Erin (Katie Aselton, performing triple duty, also serving as co-writer and director), gets into an impassioned, unclear argument with her significant other, Charlie (Daveed Diggs), where she playfully pushes him off a cliff, seemingly to his death. The reveal here in Magic Hour (co-written alongside husband Mark Duplass) is that this is harmless, since Charlie is already dead and comes to Erin as a supernatural presence as they try to cling to what life they have left together. Even at only 80 minutes, the film doesn’t have anywhere interesting to go from there, sluggishly trudging along to its inevitable conclusion that, without giving away specifics, the codependent partners need to let each other go.
If some of this sounds an awful lot like the Patrick Swayze/Demi Moore supernatural romantic Ghost, that’s because even Katie Aselton doesn’t hide from that comparison, with Erin, at one point, invoking that movie in conversation with Charlie. It is intended as a respectful homage (especially given the sensual scene that follows), but it mostly serves to remind viewers that better movies that tackle grief in this manner exist. Many of the conversations call back to other aspects of their relationship, giving the proceedings a mix of seeking closure and hoping Charlie’s ghost doesn’t completely disappear without warning or reason.
Some flashbacks fill in the blanks about what this relationship was like, further highlighting their codependent nature. One would presume that this would carry over into the present-day desert scenes, where Erin desperately searches for Charlie to appear to her over and over again, and it technically does. The film also has such a rambling tone, including episodic get-togethers with friend groups who don’t add much to the story or characterization, or Erin’s cruel and condescending mother (Susan Sullivan), that, yes, offers some insight, which shouldn’t be confused with necessarily providing anything compelling.
For as much as the performances stand out as fine, attempting to elevate the thin material, one would be forgiven for being more drawn to the exquisite photography of the desert (courtesy of Sarah Whelden) than anything the lovers discuss. Katie Aselton certainly excels in the role of expressing pain and uncertainty about what comes next and how long Charlie’s presence will even last. Meanwhile, Daveed Diggs is in a calm acceptance mode, sometimes cold but also walking Erin through what has to happen or amusingly pointing out afterlife eccentricities (like a lifetime supply of bananas).
It is also to be appreciated that the filmmaker works overtime to ensure that the Hamilton alumni receive plenty of opportunities to sing, whether it be songs or a spin on Happy Birthday. There is also the possibility that some of this spontaneously happened on set, with changes made to the script and characters every day of shooting. That charm from Daveed Diggs is organic, as if it also came from a place of creative freedom.
Nevertheless, the performances aren’t enough to give Magic Hour the depth it strives for in its exploration of loss and moving on. If anything, it becomes clear that there is little magic here, early on, and that this will quickly become tedious. We know what has to happen; the journey there is dull and monotonous.
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★
Robert Kojder
Originally published May 12, 2026. Updated May 11, 2026.
