I LOVE YOU FOREVER (2025)

February 14, 2025

Greetings again from the darkness. So, may we interest you in a Valentine’s Day movie about an abusive relationship doomed to failure? What if I told you that it’s meant to be funny, but it’s actually quite depressing and dark? Cazzie David (Larry David’s daughter) and Elisa Kalani are co-writers and co-directors on this film rumored to be ‘inspired’ by Ms. David’s relationship with a certain former SNL comedian (the one known for dating a steady stream of beautiful women).

MacKenzie (Sofia Black-D’Elia, “Your Honor”, “The Night Of”) is a law student, and when the film opens, she’s in bed with Jake (Raymond Cham Jr, THE IDEA OF YOU, 2024). We quickly realize this is a booty call … although it doesn’t appear that MacKenzie recognizes it as such. Or perhaps, more accurately, she hopes for more from Jake. This is merely the first painful example – and there are many more to come – of MacKenzie displaying very little self-confidence or self-worth, despite being lovely, intelligent, and quite capable of participating in flirty and witty banter.

Rounding out the trio of good friends are Ally (the film’s writer/director Cazzie David) and Lucas (Jon Rudnitsky, HOME AGAIN, 2017). When together, these buds have a strong bond and whip-smart dialogue. The movie is at its best during these times. Things shift quickly when MacKenzie meets Finn (Ray Nicholson, Jack’s son) at Ally’s birthday bash. Finn seems like the perfect guy for her. He’s a news reporter who can match her flirtatious ways, and delivers the most romantic first date one could imagine. The early stages go smoothly, and the weeks click by as they grow closer.

Of course, things (and men) are never as perfect as they seem. Finn begins to throw these manipulative tantrums that, frankly, are quite frightening. MacKenzie recognizes the behavior as unacceptable, yet is so intent on keeping ‘Mr. Right’, that she continues to work through his wicked (and bipolar) ways. Ally and Lucas try to be supportive for her, but Finn demands so much attention, that friendships and law school become after thoughts. It’s infuriating to watch, and it’s likely that I’m simply too old to understand why anyone would put up with Finn. Sure, partners are never as perfect as they initially seem, but hopefully few turn out to be as psychotic as Finn. The filmmakers have delivered a masterclass on what not to subject yourself to in a relationship … it’s just questionable whether this is the right message to deliver on Valentine’s Day. On second thought, maybe that’s the perfect time.

Opening in theaters on February 14, 2025

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Posted by David Ferguson

SUZE (2025)

February 9, 2025

Greetings again from the darkness. Empty nest syndrome has always fascinated me. As parents, we strive to build independence in our kids so that they can go out in the world and fend for themselves (better described as not moving back home or remaining on the family ‘payroll’). And then there are parents like Susan in this excellent and entertaining new film from co-writers and co-directors Dane Clark and Linsey Stewart (partners, spouses, and collaborators).

We first see Susan (Michaela Watkins) as she arrives home and finds her husband and a woman canoodling in the backyard swimming pool. The story then jumps ahead five years. Susan is divorced and her daughter Brooke (Sara Waisglass, TAINTED, 2020) is graduating from high school, with a plan to live at home and attend a local college. Susan is a hovering parent, seemingly involved in all aspects of Brooke’s life – even questioning what her daughter sees in goofy and free-spirited Gage (Charlie Gillespie, TOTALLY KILLER, 2023), the boyfriend who couldn’t manage to graduate on time.

Susan is exasperated … or maybe just beaten down … with her life. She works a dead-end job, is in perimenopause, has no love life of her own, can’t believe her overachieving daughter is with this ‘loser’, and seems to have lost any portion of her own self while being a mother. Things go from bad to worse for her when her ex-husband and his new wife (Sandy Jobin-Bevans, Sorika Wolf) spill the beans on big news about Brooke. It’s news that shocks Susan – mostly because she was the last to know. Now for all of this to work, the extraordinary talents of Michaela Watkins (YOU HURT MY FEELINGS, 2023; PAINT, 2023) carry these scenes. She flashes the greatest forlorn face in cinema. Is this kinda funny or is the pain too deep? Well, it’s both.

The film really takes off from there. Circumstances are such that Susan and Gage are forced to spend significant time together, and what follows is an example of how humanity and emotions and personality can blend to form surprising bonds. The on-screen chemistry between Watkins and Gillespie is a thing of beauty. It’s not romantic chemistry, but rather two lonely souls from different generations learning and evolving thanks to each other. Once we meet Gage’s dad (Aaron Ashmore), much is understood as to why Gage thrives from Susan’s caring approach.

This script is beautifully written, and the acting is superb. The cast excels in playing the scenarios as real people would. The dialogue is grounded, yet sometimes it stings, while at other times it evokes laughter. When Gage tells Susan, “We both got left by the same person”, their bond is solidified – even moreso than after the ‘cuddle party’. The cherry on top here is Gage performing Roxette’s classic hit, “It Must Have Been Love”. The film was well received at festivals last year, and I expect it will find an appreciative audience this year.

Opens in theaters on February 7, 2024

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Posted by David Ferguson

INSIDE OUT 2 (2024, animated)

January 11, 2025

Greetings again from the darkness. In the age of sequels, here’s one we can actually give a warm welcome to. Pixar has followed up the brilliant INSIDE OUT (2015) with one that picks up Riley a couple years later as she hits those teenage years, which as all parents know, means puberty. The first film won the Oscar for Best Animated Feature, and director Kelsey Mann (in her first feature film) is hoping for a repeat. This follow-up is terrific, yet it faces some tough competition in a year that also delivered three other exceptional (and worthy) animated features.

I have described this film to a few people as a “must see” for any parent of an adolescent heading towards the teenage years. What we get is a pretty accurate depiction and clear description of some of the changes on the horizon. The emotions from the first film: Joy, Disgust, Fear, Anger, and Sadness evolve into and clash with emotions significantly more complex: Anxiety, Envy, Ennui, and Embarrassment.

Amy Poehler is back voicing the energetic Joy, Lewis Black returns as Anger, as does Phyllis Smith as Sadness. New voices here include Kensington Tallman as (older) Riley, Liza Lapira as Disgust, and Tony Hale as Fear. The new emotions are voiced by Maya Hawke (Anxiety), Ayo Edebiri (Envy), Adele Exarchopoulos (Ennui), and Paul Walter Hauser (Embarrassment). And don’t worry, Pixar good luck charm John Ratzenberger is back as Fritz … along with plenty of other Pixar Easter Eggs throughout.

Riley is a star hockey player hoping to make the big step to the next level as she enters high school. The coach has her eye on Riley and invites her to hockey camp … if only those new messy emotions don’t get in the way. The awkward stage of keeping old friendships (Grace and Bree) while trying to fit in with the older kids is front and center here – and it doesn’t always go smoothly. It’s kind of fun to watch as Joy struggles to make sense of this new world. Suppressed emotions and sarcasm catch her off guard, and she looks to be losing her spot at Riley’s control panel.

As we have come to expect, Pixar visuals are spectacular and play a key role in telling Riley’s story. Maturing is rarely smooth sailing, and the film, co-written by Meg LeFauve and Dave Holstein, pulls no punches. They even include “Pouchy”, a take-off on Toodles from “Mickey Mouse Clubhouse”, as one who can deliver special help when needed. The biggest tug-of-war for control of Riley occurs between Joy and Anxiety, and it’s as painful to watch as it is to live through … although much more entertaining in this context. Pixar has delivered more than just another superb animated film; it’s a starter kit (and cautionary tale) for parents and soon-to-be teens alike.

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Posted by David Ferguson

BETTER MAN (2024)

January 9, 2025

Greetings again from the darkness. There may have been a movie that surprised me more than this one during 2024, but off the top of my head, I can’t think of one. My expectations were low for a film based on the true story of a British boy band pop star whose music I wasn’t too familiar with … oh, and he’s played by a human-sized CGI chimp. Robbie Williams is the pop star, and though he has little popularity or recognition in the United States, his story is quite interesting … and certainly presented in a creative and entertaining manner by writer-director Michael Gracey (THE GREATEST SHOWMAN, 2017) and co-writers Simon Gleeson and Oliver Cole.

Calling young Robbie Williams an outcast is not done for dramatic effect. His troubled youth and home life morphed into an opportunity to join Take That, a boy band who hit it big in the 1990’s.  Booze, drugs, and depression are too often part of the story for those who reach celebrity status, and that’s certainly the case with Williams … as is his infidelity while on tour, and his ‘Daddy issues’, thanks to a father (Steve Pemberton) who dumps the family to pursue his own flirtations with fame – yet never shying away from sprinkling in a bit of envy while lecturing his son. If you’ve always wanted to see Oasis insult and humiliate another pop star, your wish will come true, although we doubt neither Liam nor Noel are having to act much in the scene.

Robbie Williams himself answers the big question early on. This is how he sees himself: a performing monkey. And the monkey, though not real of course, does a terrific job of winning us over to the point where we no longer have that initial ‘what the heck’ look on our face. The reason this works is that director Gracey and subject Williams never back away from playing this approach as directly as it shows on screen. It may be a gimmick, but it’s not played for a final ‘gotcha’ moment.

The music is on full display here, and Williams’ performance at Knebworth is excellent, but the real showstopper is “Rock DJ”, which along with the montage, provides us with a bit of history lesson on Take That. It’s a world class film scene and one of the best of the year. The personal aspects may not play quite so well. The inner-band rivalry with Gary (Jake Simmonce), and the manner in which he treats his relationship with girlfriend and also famous Nicole Appleton (Raechelle Bano) make him out to be more of a beast (and less interesting) than the one performing on stage. Still, I don’t hesitate to proclaim this to be the best music biopic of the year featuring a CGI chimp in the lead role.

Opens in theaters on January 10, 2025

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Posted by David Ferguson

WALLACE & GROMIT: VENGEANCE MOST FOWL (2024, animated)

December 28, 2024

Greetings again from the darkness. They’re back! The last ‘Wallace & Gromit’ short film was in 2018, and their last feature-length film, WALLACE & GROMIT: THE CURSE OF THE WERE-RABBIT, was released in 2005. Creator Nick Park is back as co-writer and co-director with fellow W&G collaborators Mark Burton and Merlin Crossingham, respectively. This creative consistency is crucial to the franchise success, and helps overcome the 2017 passing of Peter Sallis, longtime voice of Wallace.

Ben Whitehead fits seamlessly as the voice of Wallace, the master inventor of contraptions and gadgets – gadgets that sometimes make simple tasks a bit more complicated, though quite entertaining. Wallace’s loyal, observant, and intelligent pet beagle is Gromit – a non-speaking pooch who emotes through eyes and body language, often expressing annoyance, frustration, or concern. If you’ve seen the films, the shorts, or the TV series, you are familiar with the set-up, though this one takes on somewhat of an ominous tone early on.

When the story begins, Wallace is an esteemed local hero having contributed to the capture of the Blue Diamond Thief. It turns out the thief is none other than Feathers McGraw, the dastardly penguin of the 1993 short film, WALLACE & GROMIT: THE WRONG TROUSERS. Wallace introduces us to his newest and most contemporary invention: Norbot (Reece Shearsmith), a ‘smart’ garden gnome programmed to help with chores around the house. In an obvious swipe at Artificial Intelligence (A.I.), the wily penguin hacks into Norbot from the confines of his (zoo) cell, setting off an army of robotic gnomes. His plan is to gain revenge on Wallace.

As a viewer, I find so much joy in the creativity on display. In fact, the storytelling and character development is superior to much of what passes for movies these days, and I found myself purely satisfied with the entertainment value and the comedic elements that generated welcome laughter. Peter Kay is back to voice now Chief Inspector Mackintosh, the frazzled leader, while Lauren Patel voices PC Mukherjee, the officer with good instincts. The stop-motion animation visuals are better than ever (especially in the action sequences), and it’s a pleasure to find an entertaining film for all ages (even if it slyly sneaks in a message here and there). The franchise dates back to the first short film in 1989 and if you are unfamiliar, I recommend getting to know Wallace & Gromit.

Opens in theaters on January 3, 2025

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Posted by David Ferguson

GET AWAY (2024)

December 5, 2024

Greetings again from the darkness. Every movie review provides the opportunity to walk the line between telling enough, but not too much. Some movies pose more of a challenge than others, and this is one. Director Steffan Haars (the ‘New Kids’ movies) and writer-actor Nick Frost team up to deliver a devilish and campy folk horror-slasher-comedy that brings a bit of innovation to genre that could use a boost.

Nick Frost stars as Richard Smith, a Dad-Joke-loving goof desperate for a relaxing holiday with his family. He’s joined by his wife Susan (the multi-talented Aisling Bea), and their teenagers Sam (Sebastian Croft, “Heartstopper”) and Jessie (Maisie Ayers in her first feature film). Their odd choice for the ‘get away’ is Svalta, a remote Swedish island that sports a dark history with its tragic 19th century plague that nearly wiped out the population. The family has scheduled the trip around the Festival of Karantan (Quarantine) marking the unfortunate events of yesteryear.

Upon their arrival, the locals give them an icy and somewhat threatening reception. Referring to the festival as a “play” doesn’t help their cause, and it’s only when their creepy Airbnb landlord (Eero Milanoff) shows up to claim them does the tension soften a bit. The house they’ve rented seems perfect, but soon things feel a bit off. Sam’s vegetarian diet and Jessie’s spirited approach add an extra dimension, while Richard and Susan play off each other expertly (as we’d expect from Frost and Bea).

This was my second Nick Frost horror movie in less than a month, as this is on the heels of his much less funny turn in BLACK CAB. Of course, he’s known for his comedic turn in the Cornetto trilogy, and his screenplay here is quite impressive. The film really plays up the whole “outsiders” feeling unwanted … just before the magnificent twist that turns the film into an off-the-rails blood bath. Barry Blue singing “I Eat Cannibals” provides a fitting musical ending to this wild ride from Shudder Films.

Opening in theaters on December 6, 2024

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Posted by David Ferguson

NUTCRACKERS (2024)

November 28, 2024

Greetings again from the darkness. I’ll give you the set-up and you tell me how it ends. A workaholic real estate developer drives his yellow Porsche from Chicago to a middle-of-nowhere Ohio farm after his sister and brother-in-law die in a car crash. He’s there to sign paperwork for a foster family to take the four brothers left behind. However, there’s a glitch, and the stressed-out uncle is forced to extend his time with the four boys. Since, we can all guess how this story ends, the determining factor on whether it’s worth watching is what happens in-between.

Director David Gordon Green has had quite a strange and diverse string of projects, going back to PINEAPPLE EXPRESS (2008), his recent horror reboots with HALLOWEEN (2018) and THE EXORCIST: BELIEVER (2023), and numerous TV series, including “Eastbound & Down”. The screenplay comes from Leland Douglas, and the film draws Ben Stiller out of leading man semi-retirement (he’s been directing episodes of “Succession”).

Michael (Stiller) is shown zipping through the countryside conducting important business on his cell phone as he drives. When he arrives on the farm, he immediately steps his expensive loafers into animal excrement. The social worker (a criminally underutilized Linda Cardellini, “Mad Men”) informs him that the foster family backed out and he’s now responsible for his four nephews, until a new foster family can be found. The boys have been home-schooled and living off the grid (pigs in the house, etc). They obviously have trust issues with an uncle who obviously doesn’t want to be there.

For this story to work, we have to believe two things: that the boys connect with Mike and that Mike learns what really matters in life and is willing to drastically change. The four Kicklighter boys are played by real life Hanson brothers Atlas, Ulysses, Arlo, and Homer. They are truly the highlight of the movie, and it’s a shame the story doesn’t better utilize the dynamic of their transformation. Instead, there are a couple of side stories involving the town’s rich man (played by Toby Huss, The Wiz from that “Seinfeld” episode), and a greedy professional foster home mother (Edi Patterson, KNIVES OUT, 2019). These stories should have been better explored or ignored completely to concentrate on Michael and the boys,

Some comedy elements are introduced – Michael paddleboarding in the pond and Captain Bebop’s Ice Cream truck, but the attempt at a sentimental ending is never earned and feels out of place, based on what we’ve watched. This has the look and feel of a Hallmark Christmas movie, yet it’s missing charm and seasonal spirit. Perhaps UNCLE BUCK (1989) is the closest comparison, but this one never really comes close to matching that one.

Releases on Hulu on November 29, 2024

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Posted by David Ferguson

SATURDAY NIGHT (2024)

November 13, 2024

Greetings again from the darkness. For those of a certain age, October 11, 1975, changed television forever. Now celebrating it’s 50th anniversary season, “Saturday Night Live” (SNL was originally just ‘Saturday Night’) has been maligned and criticized so many times over the years, yet it persists in providing commentary and comedy when so many other shows have failed. No better choice exists to present the show’s origin story than writer-director Jason Reitman w-d (JUNO, UP IN THE AIR, THANK YOU FOR SMOKING, TULLY), who along with co-writer Gil Kenan, go extreme with the ‘origin’ by tracking the 90 minutes prior to the first show’s airing.

Thanks to a clock counting down to the 11:30pm showtime and a few periodic reminders, we are always aware of just how few minutes remain for showrunner Lorne Michaels (a terrific Gabriel LaBelle) to pull off this minor miracle. Backstage chaos barely scratches the surface of what Michaels is dealing with (in addition to his own anxiety). Network executives and censors, an out-of-control cast of truly ‘Not Ready for Prime Time Players’, a writer’s room in disarray, incomplete set assemblage, and more than double the material necessary to fill the allotted time are just some of the hurdles facing Michaels.

What we immediately notice is the fine job done in casting the cast: Cory Michael Smith captures Chevy Chase’s looks, ambition, ego, and talent; Dylan O’Brien nails Dan Aykroyd’s physicality and rapid-fire speech; Ella Hunt is underutilized as ultra-talented Gilda Radner; Emily Fairn is insecure Laraine Newman; Kim Matula shows Jane Curtin’s coolness; and Lamorne Morris plays up Garrett Morris’ realization of stereotyped characters. Perhaps the key to the show and this movie is Matt Wood’s portrayal of John Belushi, who initially rebels against the bee costume, refuses to sign his contract, and clearly is the most explosive and vital member of the cast.

 “What is the show?” Lorne Michaels fields that question a few times and fails to give a satisfactory answer … until just before showtime when he eloquently explains it and wins over NBC’s Dave Tebet (Willem Dafoe), the key network executive who was fully prepared to show a Johnny Carson rerun rather than risk embarrassment with the newbies. The frantic pace is unrelenting as a nervous Director of Programming Dick Ebersol (Cooper Hoffman, son of Phillip Seymour Hoffman) tags along wondering if his own career is going to crash and burn right along with Michael’s. Acting as a calming influence is Lorne’s (first) wife Rosie Shuster (Rachel Sennott), who brings serenity to those on the edge.

Revolution is difficult – especially with a bunch of twenty-something no-name actors. Bringing in ‘Mr. Television’ Milton Berle (Oscar winner JK Simmons) allows for further contrast with old comedy versus new, not to mention Berle’s most infamous appendage, which he doesn’t hesitate to flaunt. Others of note include Finn Wolfhard as an NBC page charged with filling the studio audience, a too-tall Nicholas Braun who plays both an out-of-place Jim Hensen and Andy Kaufman (complete with “Mighty Mouse” segment). Matthew Rhys plays coked-out host, George Carlin, and Nicholas Podany is a desperate for stage time upstart named Billy Crystal. Tommy Dewey plays head writer Michael O’Donaghue, and Jon Batiste performs as Billy Preston (while also writing the film’s score).

A couple of highlights include a sound check with Garrett Morris singing about what he’s going to do with his shotgun, Aykroyd as Fred Garver, and of course, Belushi whenever he’s on screen. Director Reitman includes numerous callbacks to sketches and characters … some of which require a sharp eye by viewers. Kudos to Jess Goncher for Production Design that recalls this hectic time, and to cinematographer and frequent Reitman collaborator, Eric Steelberg, for using the camera in sync with a time that was totally out of sync. Capturing an event of anti-establishment or counterculture rebellion is almost as impressive as what Lorne Michaels and the cast and crew pulled off that night (drugs and all).

On Digital November 12, 2024 and on Blu-ray January 7, 2025

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Posted by David Ferguson

ANORA (2024)

October 31, 2024

Greetings again from the darkness. Watching ANORA and EMILIA PEREZ in the same week mere days after complaining out loud that it hasn’t been a great year for movies could inspire me to complain about everything in hopes that the rewards are similar. Since I’ve already reviewed the latter, let’s get to Sean Baker’s outlandish and innovative film. We can’t use the word ‘strange’ or ‘offbeat’ to describe this one, since Baker excels at presenting those on the fringes of society. Proof is provided via his superb previous films RED ROCKET (2021), THE FLORIDA PROJECT (2017), TANGERINE (2015), and STARLET (2012).

Mikey Madison (“Better Things”, ONCE UPON A TIME … IN HOLLYWOOD) crushes the role of Ani (short for Anora), a sex worker and exotic dancer pushing hard to make ends meet. It appears her ship has come in when Ivan (Mark Eidelshtein) pops into the club, takes a liking to Ani, and throws money around like he’s the spoiled son of a Russian Oligarch, which he is. Paying big bucks to have her be his American girlfriend for a week means Ani attends a raucous party and gets to frolic with Ivan in his ultra-modern seaside mansion. A spur-of-the-moment trip to Las Vegas means lots of partying and an equally spur-of-the-moment decision by Ani and Ivan to get married.

As you might imagine, this Cinderella story leaves Ani with a tarnished slipper. When Ivan’s parents find out about his disgracing the family by marrying an American sex worker, they send their local Armenian fixer Toros (Karren Karagulien, TANGERINE) to get the marriage annulled and repair the damage. Toros works with his brother Garnick (Vache Tovmasyan) and local hired help Igor (Yura Borisov) to start the process. What ensues breaks many laws, but also shifts the film’s tone as Ani fights (literally) the inevitable and puts up a valiant effort to save her marriage and new life of love and luxury. The brilliance here is with Igor and his perceptiveness to Ani’s feelings. Not only does this add complexity and emotion to the ongoings, but it also has an impact on the gut-punch ending.

This is innovative storytelling that refuses to shy away from the tough stuff or the easy stuff. We see Ani interacting with her co-workers and clientele at the club and it all seems as realistic as we’d expect. Ivan’s shenanigans as the rich kid out for a good time are certainly believable, as is Ani’s refusal to release her grip on her fantasy lottery win. Not enough can be said about Mikey Madison’s performance. Her dancing, her profanity, her acceptance of love, and her battling til the end are the heart of the film and the heart of a survivor. Mark Eidelshtein captures extreme privilege, and it’s a pleasure to see Mickey O’Hagan (TANGERINE, STARLET) back on screen – if only in a limited role as a Nevada clerk. We are so fortunate that filmmaker Sean Baker continues to enrich our moviegoing with his projects of hope, humor, and sadness.

The film opens in select theaters on November 1, 2024

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Posted by David Ferguson

GOODRICH (2024)

October 17, 2024

Greetings again from the darkness. The heart definitely skips a beat when the phone rings late in the night, awakening us from a deep slumber. Andy Goodrich groggily answers the call to hear his wife inform him that she’s checked herself into rehab and then ending the call with, “I’m leaving you”. It doesn’t take long for us to realize the real problem. Andy seems to be the only one unaware that his wife too frequently swallowed prescription drugs and chased them down with a bit of booze. Over the next few days, Andy is almost too late in recalling that his 9-year-old son has a peanut allergy, and discovers that his 9-year-old daughter (yep, twins) hates to be late for school and likes a glass of water on her bedstand at night.

Writer-director Hallie Meyers-Shyer (HOME AGAIN, 2017, daughter of filmmakers Nancy Meyers and Charles Shyer of PRIVATE BENJAMIN and FATHER OF THE BRIDE fame) shows us that Andy (Oscar winner Michael Keaton) has always been somewhat absent from his family, choosing instead to pour his heart and soul into the art gallery he owns. It’s a business that once flourished, but now struggles month to month. The old saying goes, ‘when it rains, it pours’, and Andy is experiencing an emotional and emergency flash flood. The twins, precocious Billie (Vivian Lyra Blair) and quiet Mose (Jacob Kopera), need their dad to crash-course the whole parenting thing, while he also tries to salvage his business. Andy decides to lean on his adult daughter Grace (Mila Kunis, BLACK SWAN, 2010), who also has always felt distant from and let down by her father.

Now, you might be questioning 73-year-old Michael Keaton as the dad of fourth grade twins, but he easily passes for sixty-something here, and his unique blend of dramatic and comedy talent makes him one of the few who could pull this off. His frenetic energy plays right into the role and we accept him as a guy who hasn’t been good at ‘family’ but has the heart to make the effort when he must. The scenes between Andy and Grace are the best, as both Keaton and Kunis work to elevate the material. Supporting work comes from Michael Urie (“Shrinking”) as a gay single parent who is a bit over-emotional, Danny Deferrari (SHIVA BABY, 2020) as Grace’s opposite-from-Andy husband, Kevin Pollak as Andy’s business manager, Carmen Ejogo (“Your Honor”) as a feminist singer and a last gasp hope for the gallery, Laura Benanti as Andy’s rehabbing wife, Poorna Jagannathan as Grace’s doctor, and Andie MacDowell as Andy’s ex-wife.

The lesson here is keeping the important things in life as a priority, which is a relatively simple and heavy message, and fortunately the cast (especially Keaton) can handle it. There are enough laughs included – the best involves Halloween costumes of Warhol, Frida, and Dali – to balance the bleak elements and the cliches; however, personally I could have used a bit more of absent dad reconnecting with pregnant daughter. Still, watching Keaton’s Andy come to grips with his lifelong self-centeredness makes this one worth watching.

In theaters beginning October 18, 2024

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Posted by David Ferguson

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