MY PENGUIN FRIEND (2024)

August 15, 2024

Greetings again from the darkness. It’s understandable if this movie makes you consider whether penguins might make better friends than people. David Schurmann directs a script from Kristen Lazarian Paulina and Lagudi Ulrich that is ‘inspired by a true story’. By now, we all recognize this as code for dramatic license has been taken, and it’s up to the viewer to differentiate fact from fiction.

Brazilian fisherman Joao (Pedro Urizzi), his wife Maria (Amanda Magalhaes), and their son Miguel (Juan Jose Garnica) are living a lovely, simple life along the coast until tragedy strikes at sea on Miguel’s birthday. The story jumps ahead a few decades to find a sullen and continuously grieving and guilt-ridden Joao (Jean Reno) and an extraordinarily patient Maria (Adriana Barraza) still live in the same house, though they barely interact with others in the remote village.

One day, Joao rescues an injured penguin from an oil slick. After carefully cleansing the oil from the penguin’s coat, Joao begins feeding him a steady (and consistent) diet of fresh sardines. Joao is happy when the recuperated penguin sticks around for a while and is elated when he shows back up the following year. Maria isn’t sure what to make of the returning penguin (named DinDim by a local girl), yet she’s thrilled to see Joao has a bit of spark. As viewers, we see what Joao doesn’t. DinDim hails from Patagonia and is part of the annual penguin migration being studied by Marine Biologist researchers.

Mr. Reno and Ms. Barraza (nominated for an Oscar for BABEL, 2006) are two familiar and dependable character actors who rarely get a shot at lead roles, and even here, they are often in support of a penguin. They are both relatable and excellent here. Reno does nice work conveying a broken man who rediscovers joy after so much sorrow. It’s also interesting to see DinDim’s initial trip and how he became separated from the colony. Of course, much of this is speculation, although we do know that this penguin returned to Joao for eight consecutive years, and actual clips are shown at the end of the film. Director Schurmann has delivered a film that could be enjoyed by families, with only the early tragedy being a point of concern.

Opening in theaters on August 16, 2024

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Posted by David Ferguson

THE INSTIGATORS (2024)

August 8, 2024

Greetings again from the darkness. Add this to the long list of films reminding us to temper our expectations and high hopes prior to viewing. Still, optimism seemed reasonable given an excellent director and strong cast. Director Doug Liman has delivered such entertaining films as SWINGERS (1996), THE BOURNE IDENTITY (2002), EDGE OF TOMORROW (2016), and this year’s remake of ROAD HOUSE (2024). Matt Damon and Casey Affleck both have Oscars on their mantels, and Hong Chau has a recent Oscar nomination. To top it off, the supporting cast includes such favorites as Jack Harlow, Alfred Molina, Michael Stuhlbarg, Andre De Shields, Ron Perlman, Toby Jones, Ving Rhames, and Paul Walter Hauser. All the pieces were in place. So, where’s the spark … the pizzazz … the fun?

The premise is promising enough. Former Marine Rory (Matt Damon) is a desperate man. He needs $32,480 to reboot his life – child support, alimony, mortgage, etc – so that he can reconnect with his son and watch him play hockey. When his therapist, Dr Donna Rivera (Hong Chau, THE WHALE, 2022) acknowledges his desperation, she asks, “Have you tried everything?” The next thing we know, somehow lowlife criminal Scalvo (Harlow) has teamed Rory with ex-con Cobby (Casey Affleck) for a job masterminded by Mr. Besegai (Stuhlbarg) and Mr. Dechico (Molina). The heist involves an election night fundraiser for corrupt incumbent Mayor Miccelli (Perlman) at the Boston Wharf. Along the way, we get a glimpse of Fenway Park, the famous Bobby Orr photograph, and a popular Patriot (the football kind).

Of course, the heist goes sideways … or whatever is worse than sideways for criminal activity … and an extended (i.e., entirely too long) car chase through downtown Boston plays out while Petula Clark croons “Downtown”, and Dr. Rivera is taken as a volunteer hostage who continues to pass along advice to her patient. Now for this to work, the action needs to be thrilling and the wit amongst the three participants in the car needs to be crackling. Neither of these occur.

The script was co-written by Chuck MacLean (“City on a Hill”) and co-star Casey Affleck, and it strives to be all things to all viewers … crime-thriller, buddy comedy, and action flick. It’s watchable, yet falls into that category we’ve come to dread: mostly forgettable. Even the ‘Butch and Sundance’ jokes fall flat. All of these talented folks will move along to their next projects, just as we will move along to the next movie. No harm/no foul.

Playing in select theaters and streaming on Apple TV+ beginning August 9, 2024

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Posted by David Ferguson

KNEECAP (2024)

August 1, 2024

Greetings again from the darkness. The Troubles of Northern Ireland were a 30-year political and social conflict that officially ended in 1998 with the Good Friday Agreement. Even today, the pain and memories and divisions remain. Writer-director Rich Peppiatt’s film is set in 2019 (West Belfast) and is billed as a “mostly true story” involving controversial hip-hop group Kneecap and the push to make Irish an official language. Early on we are told, “A country without a language is only half a country.”

A circumstantial fluke brings music teacher JJ (DJ Provai) into the world of self-described “low life scum”, Naoise ( Moglai Bap) and Liam Og (Mo Chara) – drug dealers and wannabe musicians. Performing their raps in native Irish tongue, the trio inexplicably and by happenstance, becomes the unlikely face and voice of the language movement. The resistance they face is stout and sometimes dangerous … yet possibly they remain their own biggest hurdle to success.

Another plot line occasionally rears its head – Naoise’s father Arlo (Michael Fassbender) has been on the run since Naoise’s childhood and is now a paramilitary figure pursued by the police, despite family efforts to convince he’s dead. Popping up now and again, Arlo offers guidance and words of advice to the boys who face oppression and opposition from the conservative and proper forces fighting their rebellious nature and pursuit of radical change.

Adding to the interest level here is that all three members of Kneecap play themselves. With no acting experience, they are convincing enough in telling (mostly) their own story in comedy-drama style. They are also experts at flowing f-words. We have witnessed Irish chaos many times, yet director Peppiatt and the trio generate an energetic cheekiness that plays well in establishing cultural and class differences. This may not be the first story of drug dealers becoming lyricists, performers, and social influencers, but we certainly appreciate the moments of authenticity proving yet again the power and influence of music (even if the bouncing subtitles are a step beyond challenging). The 2022 Identity and Language (Northern Ireland) Act affirmed Irish as an official language, and Kneecap shows punk rebellion will carry on. Oh, and ask your friends, “What’s the craic?”

In theaters August 2, 2024

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Posted by David Ferguson

DEADPOOL & WOLVERINE (2024)

July 23, 2024

Greetings again from the darkness. The secret sauce for movies based on comic books and superheroes has always seemed pretty obvious … give the hardcore fans what they want. Somewhere along the way, the industry shifted its focus from entertainment to pushing the boundaries of technology. The result was a (many) years long stream of visual extravagance with little heart and soul. Writer-director Shawn Levy and co-writers Rhett Reese, Ryan Reynolds, Zeb Wells, and Paul Wernick have managed to right the wrong and put things back on track. Of course,  Disney’s purchase of 20th Century Fox and the Marvel Universe slowed down development, but they have finally capitalized on two fan-favorite characters developed by Rob Liefeld and Fabian Nicieza … Deadpool and Wolverine.

Billed as a ‘threequel’, this follows the 2016 and 2018 Deadpool movies that vaulted Ryan Reynolds to superstardom. His quick and colorful banter and wit were perfect complements to his physical gifts. When Reynolds’ Deadpool and Hugh Jackman’s Wolverine first shared the screen in X-MEN ORIGINS: WOLVERINE in 2009, the spark between the two was clear. Here we are 15 years later, and the two characters share an entire film – and the real life friendship between Ryan Reynolds and Hugh Jackman is well-documented.

This is not the place to come for spoilers or a recap of the story. No, that place would be the theater. What I will say is that it’s very impressive how the filmmakers get both Deadpool and Wolverine/Logan back in the saddle, while at the same time paying homage to the past. The tributes begin even as the movie starts with a new montage reminding us of those who have built the MCU. Additionally, the re-introduction of Wade Wilson’s circle (Morena Baccarin, Karan Soni, etc), is remarkably simple, yet effective … and of course, Blind Al (the great Leslie Uggams) is especially fun. However, what’s most impressive and ingenious is the manner in which Deadpool tracks down Wolverine/Logan, one who was unmistakably dead at the end of LOGAN (2017).

Together they are to save Wilson’s world … and perhaps other worlds as well. This danger occurs due to Mr Paradox (an over-the-top Matthew MacFadyen) working at the direction of Time Variance Authority. It’s really not too complicated, which is why this works. Even those of us who don’t spend hours pouring over comic books will follow the story and understand how Cassandra Nova (an excellent Emma Corrin) is the key onscreen antagonist, although it must be noted that this genre demands surprises and director Levy does not disappoint. Whether it’s Rob Delaney, twists on the Deadpool character, the Wolverine cowl, or enough F-bombs to challenge a Tarantino movie, this first R-rated Marvel film is packed with aha moments. And yes, Jackman flashes his stunning physique and the slew of cameos are sure to satisfy.

World class zingers are delivered with charm (or Logan’s trademark grumpiness), and the laughs are many, though they work well with the heart and soul of what is not just a ‘save the world’ flick, but also a terrific buddy film. The two cautions I’ll offer here: it’s definitely a hard “R” and make sure you stay for the closing credits for a bit of nostalgia.

Opens in theaters on July 26, 2024

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Posted by David Ferguson

SPACE CADET

July 4, 2024

Greetings again from the darkness. We have accepted that a bartender can get elected as a United States Senator, and writer-director Liz W Garcia would have us believe a bartender may also become an astronaut … but only after submitting a fraudulent application with details, accomplishments, and references that NASA wouldn’t bother verifying until after admission into the program.

Of course, we know going in that Garcia’s film is a comedy, and in no way should be compared to the fine film, A MILLION MILES AWAY (2023), a biopic on Jose Hernandez, a farm worker who actually accomplished the things required to become an astronaut. “Rex” (played by Emma Roberts, daughter of Eric and niece to Julia) is a party girl bartender attending her 10-year high school reunion with her BFF Nadine (Poppy Liu, “Hacks”). We learn Rex had a childhood dream of going to space – a dream fully supported by her mother, who has since passed. Rex’s strong academic record gained her admission to college, but mom’s death seemed to knock her off the space track and into a life of parties and pouring drinks and dressing like a 13-year-old girl.

With a newfound inspiration, Rex fires off a heartfelt letter to NASA asking for admission into the program. The letter is intercepted and, well, enhanced, by a well-meaning Nadine. Soon, Rex is packing up her bedazzled clothes and heading to NASA. Program directors Logan O’Leary (a heavily lipsticked Tom Hopper, I FEEL PRETTY, 2018) and Pam Proctor (Gabrielle Union, BRING IT ON, 2000) aren’t sure what to make of Rex, though remain impressed with her application, even as she excels in leadership and flounders in technical aspects.

The ASCANS (Astronaut Candidate) program is not realistically depicted here, and it’s not surprising that Rex survives each round of cuts. And yes, we all know where this is headed, as surprise is not a factor in any aspect of this film. The film’s title is obviously a play on words, and if you somehow believe more cringe is needed, a budding romance (also obvious) is tossed in to make sure no one takes this NASA seriously.  The ending takes us right where we know we’re headed, and we find ourselves wondering why any filmmaker, much less a female filmmaker, would purposefully portray an intelligent woman in this flighty manner. Comedies are no doubt tough to execute, but the best are grounded in some form of reality. Perhaps there’s a bartender out there somewhere that will cure cancer or solve world hunger. Let’s just hope fraudulent applications aren’t the new norm.

Releases on Prime Video on July 4, 2024

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Posted by David Ferguson

THELMA (2024)

June 20, 2024

Greetings again from the darkness. With so many senior citizens (Boomers) around these days, we should expect more movies featuring older characters, and movies that this demographic might enjoy watching. Instead, most movies treat seniors as either mostly silent set pieces in family scenes or as awkward buffoons (see the recent SUMMER CAMP, or better yet, don’t see it). Writer-director Josh Margolin apparently understands this, and his first feature film is not just funny, it also allows a few elderly actors to lead the way.

June Squibb is not just any 94-year-old leading lady. Of course, that’s a bit facetious, since such a list would be very short. For someone whose film and TV career didn’t get started until she was in her 60’s (she was on stage prior), Ms. Squibb has put together a remarkable career. She’s been memorable in such films as NEBRASKA (where she received an Oscar nomination), BLOW THE MAN DOWN (2019), and ABOUT SCHMIDT (2002), as well as numerous TV shows along the way. Here she stars in the titular role as Thelma, and wins us over with her charm and determination.

Based on a true story (there really was a Thelma that went through this), we find Thelma still living in her own house gladly accepting periodic assistance from her beloved and kind grandson Daniel (Fred Hechinger, “The White Lotus”). The two have a close relationship, and that’s precisely what makes Thelma such an easy target for the clever phone scammer. She panics in her desire to quickly rescue Daniel from the legal scrape the caller informs her of, and she mails off a chunk of cash believing she’s doing what’s best for him. Embarrassed once she discovers the ruse, Thelma listens as her daughter Gail (Parker Posey, BEAU IS AFRAID, 2023) and son-in-law Alan (Clark Gregg, Agent Coulson in the Marvel Universe) discuss moving her into an assisted living facility. However, since she and Daniel have recently watched Tom Cruise and his daring stunts in MISSION: IMPOSSIBLE, Thelma has other ideas … she (secretly) sets out to find the bad guys and retrieve her money.

The rest of the story revolves around Thelma’s mission and Daniel’s attempt to bring her home safely (and prove his own worthiness). Thelma hooks up with old (no pun intended) friend, Ben (Richard Roundtree, SHAFT, 1971) and the two set off on an exciting (mis)adventure that must be seen to appreciate. The two make a great team – sometimes bonding over humor, sometimes disagreeing about the plan … just like real people would do. The trail finds Thelma crossing paths with another elderly gent played by Malcolm McDowell (A CLOCKWORK ORANGE, 1971), and it’s a scene that I look forward to watching again.

The film is quite entertaining and, quite fittingly, appropriate for most ages (except for a smattering of kinda blue language). It’s such a pleasure to see elderly characters that matter and think and react and participate in life. When Thelma says, “I didn’t expect to get so old”, we understand exactly what she means. The various times she proclaims, “I think I know her”, we can relate. With a rare score that features a flute, this is not just one of the more realistic depictions of seniors we’ve seen, filmmaker Margolin has actually delivered a case study on how to create a movie starring senior citizens that is both funny and respectful. This is one I hope many will see.

Magnolia Pictures will release THELMA in select theaters on June 21, 2024

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Posted by David Ferguson

SUMMER CAMP (2024)

June 1, 2024

Greetings again from the darkness. There is always space (and a need) for silly or mindless entertainment. But even that genre requires some skill and refinement, so as not to stoop to imbecilic. The Farelly brothers, the Monty Python troupe, Abrams & Zucker, and Mel Brooks all understood this when crafting a movie. Writer-director Castille Landon has been making movies for a while now, and it appears this concept has eluded her despite assembling her most well-known cast.

Camp Pinnacle was established in 1928 (according to the sign) and there is a group of young girls we see maneuvering through a traumatic first-time event for one of them who is not quite 11 years old. An older girl offers some very personal assistance, and a lifelong friendship begins among the three outcasts in Sassafras Cabin. Year after year, the girls return for a few weeks of camp shenanigans and bonding. We then jump ahead for the Camp’s 50-year reunion (we assume this is 50-year reunion of the year these girls started attending and not 50 years for the camp itself, which would have put this at 1978).

Self-help guru (we don’t use that word) Ginny Moon (Kathy Bates, Oscar winner MISERY, 1990) is the driving force behind organizing the reunion, and especially in getting her grown-up friends to attend. Mary (multi-Emmy winning Alfre Woodard) is a nurse, while Nora (Diane Keaton, Oscar winner ANNIE HALL, 1977) is a workaholic business owner. Personalities are quickly established. Ginny Moon has never married and rides around in a pink tour bus with her catchphrase, “Get Your S*** Together” plastered on the side. Mary is a talented nurse who is questioning her long marriage to her self-centered husband (Tom Wright). Nora is the type who uses her work as an excuse to avoid living a life.

Supporting roles are covered by Beverly D’Angelo, Betsy Sodaro, Josh Peck, Eugene Levy (as a love interest!), Dennis Haysbert, and Nicole Richie. There is really no reason to go in depth into what happens in this film. It seems obvious the filmmaker is hoping to capitalize on the success of recent films like BOOK CLUB and 80 FOR BRADY. The potential was certainly here, but the final product is simply insulting, belittling, and demeaning to women. Food fights and pillow fights may be camp staples, but inane dialogue and unbelievable situations and reactions make for painful viewing. Ms. Keaton, in particular, seems to mail in her performance with an overdose of her patented head shakes and sighs (and wardrobe). Ms. Bates and Ms. Woodard outclass her in every scene, with Ms. Woodard delivering the film’s single best scene in her confrontation with her husband.

For years we have heard that the acting opportunities for older women are limited, and clearly there is an audience for stories about mature women. What’s equally obvious is that these women deserve significantly better stories and better roles. Exploring the concept of finding one’s self in life’s later stages is a topic worth pursuing … it’s simply a concept that deserves better than this.

Opening May 31, 2024

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Posted by David Ferguson

THE FALL GUY (2024, extended version)

May 23, 2024

Greetings again from the darkness. Today’s CGI and special effects can be stunning and awe-inspiring, and clearly movie audiences have come to embrace this approach as evidenced by the success of Star Wars and superhero franchises, as well as plenty of other blockbusters over the past couple of decades. In contrast, stuntman-turned-director David Leitch (BULLET TRAIN, 2022, ATOMIC BLONDE, 2017, JOHN WICK, 2015) and screenwriter Drew Pearce (MISSION: IMPOSSIBLE – ROGUE NATION, 2015) have delivered a throwback by adapting the TV series from creator Glen A Larson, which ran for 112 episodes in the 1980’s.

Two key players from last year’s “Barbenheimer” box office rivalry, Ryan Gosling and Emily Blunt, are the featured players here as Colt Seavers and Jody Moreno. Colt is a renowned stuntman and Jody is a camera operator and aspiring film director. When we first see them on set, Colt is preparing for a dangerous stunt as a double for mega-action film star Tom Ryder (Aaron Taylor-Johnson, BULLET TRAIN). Between shots, Colt and Jody are expounding on their previous flirtations and making plans for the future. The stunt goes wrong. Colt is rushed to the hospital and the film flashes forward 18 months to find Colt working a menial non-stuntman job, and Jody directing her first film, METALSTORM, a sci-fi action thriller.

Jody’s directorial debut also stars Tom Ryder and is produced by fast-talking producer Gail Meyer (Hannah Waddingham, “Ted Lasso”). Gail draws Colt out of retirement and back to the set under false pretenses. Of course, sparks fly again between Colt and Jody, but Gail’s ulterior motive is for Colt to track down the missing Tom Ryder. So, let’s stop here and chat about this movie for a moment. First of all, it’s rare action-comedy-romance-mystery film. It also offers a peek at the structured chaos of a movie set, as well as the diverse personalities of actors, crew, and producers. Possibly what it does best is shine a spotlight on the stunt crew, noted here as the unsung heroes. There is even a crack about there not being an Oscar for stunt work (a topic that’s been debated and discussed at the Academy).

The film certainly benefits from the charisma and talent of Gosling and Blunt, both of whom were nominated for Oscars last year. And Leitch’s film also deserves credit for being an ode to action movies and a love letter to stunt performers. But let’s face it … the story here is pretty thin and seems to exist only to provide a reason for the stream of ideas designed to take advantage of Gosling and Blunt and a few other gags. Drugs that cause unicorn sightings, a running joke about a cup of coffee, a “Miami Vice” jacket, a dog that responds only to French commands, and some ‘on the nose’ music – and familiar sound effects from “The Six Million Dollar Man” all add to the nostalgic feel (along with a Wilhelm scream). And while I join many movie-goers in sharing Colt’s desire to “beat the ____ out of Aaron Taylor-Johnson’s character”, I’ll admit to finding some joy in Tom Ryder riffing on Matthew McConaughey.

The extended version I saw featured an additional 20 minutes to the theatrical version, and it appears most of it was for one particular fight scene being filmed in Jody’s movie. Supporting work seemed a bit sparse for the talented Stephanie Hsu (EVERYTHING EVERYWHERE ALL AT ONCE, 2022), Winston Duke (BLACK PANTHER, 2018), and Teresa Palmer (BERLIN SYNDROME, 2017). What wasn’t sparse was the number of adrenaline-pumping stunts and explosions. Those segments were big fun and a welcome answer to the recent barrage of CGI/Special Effects blockbusters. This one has a throwback feel that bathes us in nostalgia at times, recalling the wild films of Burt Reynolds and Indiana Jones. There is even a late scene featuring the two lead actors (Lee Majors, Heather Thomas) of the old TV series. Whatever you do, stick around for the closing credits to get a look at the actual process behind the stunts included in the film … educational and full of wow factor.

Now showing in theaters and available on Digital.

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Posted by David Ferguson

CHALLENGERS (2024)

April 25, 2024

Greetings again from the darkness. Director Luca Guadagnino continues to prove that he excels at making gorgeous-looking movies featuring gorgeous-looking actors. Previous proof includes SUSPIRIA (2018), CALL ME BY YOUR NAME (2017), A BIGGER SPLASH (2015), and now this latest, with a screenplay by Justin Kuritzkes. If you are looking for a film that oozes flashy style and sex appeal, you’ve chosen the right movie. You can even pretend it’s a tennis movie, though you’re not likely to fool anyone.

Zendaya (DUNE: PART 2, 2024, DUNE, 2021, “Euphoria”) stars as Tashi, a rising young tennis protégé when we meet her in flashback. Doubles partners and best friends, Art Donaldson (Mike Faist, WEST SIDE STORY, 2021) and Patrick Zweig (Josh O’Connor, EMMA., 2020) are immediately smitten by Tashi’s stunning looks and equally stunning tennis talent. She toys with the boys as they strive for her attention … leading to a hilarious and surprisingly escalated encounter in a hotel room. It’s the first, but not the last time a sexual encounter plays a part with these three. It’s likely the Intimacy Coordinator was on set most every day of shooting.

As best I can tell, the story covers about a 13-year period from juniors to the professional level, although the tennis balls bounce on the court less frequently than the time period bounces around as the stories unfold. And actually, the tennis serves as a means to an end. The real drama and competition comes from the relationships: Art and Patrick, Patrick and Tashi, Tashi and Art, and Tashi and Art and Patrick. Yes, tennis is an integral part of this since it forged the bonds – heck, it’s sometimes difficult to discern tennis talk from pillow talk – yet it’s the personal dramas that make the film what it is.

All three leads are excellent, yet somehow Zendaya’s performance stands out … even beyond Josh O’Connor who delivers his best performance to date. Her lithe physique passes for a tennis player despite the lack of muscle tone that would accompany an athlete, yet her movements work. The players move on the court and make the strokes, while CGI handles the ball movements at an accelerated pace (reminding us this isn’t really a movie about tennis). Initially, the club dance beat of the score from Oscar winners Trent Reznor and Atticus Ross seems an odd choice, yet it becomes the perfect fit as things progress. Guadagnino re-teams with cinematographer Sayombhu Mukdeeprom to create some fantastic and creative shots, even making the tennis exciting. Editor Marco Costa deserves a shoutout as well.

With Hollywood’s overdose of caution these days when it comes to sexuality, the energy here feels a bit naughty at times. The shifting power dynamics of this trio reminds of the “Seinfeld” episode where characters discuss having “hand” in a relationship. Of course, Guadagnino takes this one much farther, although it’s every bit as entertaining. And that’s the best way to think of this – a big ol’ movie that lets us enjoy and even laugh a bit. It’s a wild ride and it’s gorgeous.

Opens in theaters on April 26, 2024

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Posted by David Ferguson

THE FEELING THAT THE TIME FOR DOING SOMETHING HAS PASSED (2024)

April 25, 2024

Greetings again from the darkness. It’s billed as a comedy, though for many, the funniest part may be in trying to remember the film’s title. Deadpan reaches a new level in this debut feature film from actor-writer-director-producer-editor Joanna Arnow. It’s tough to recall any film that more belongs to one person. Indie filmmaker Miranda July’s work is the closest I can think of, yet in comparison, her work comes closer to mainstream Spielberg than it does to this one from Ms. Arnow. None of that is meant to be harsh, it’s simply a challenge to describe this film to anyone who hasn’t seen it … or even to someone who has.

The film is divided into five chapters, each named for the key “other” characters (not named Ann). Arnow stars as Ann, and the opening scene finds her in bed next to the much older Allen (Scott Cohen). It’s here we discover she’s age 33 and has been Allen’s submissive since age 24. In fact, two of the chapters are named “Allen”, and Ann even suggests they were “destined to be together”. She makes this proclamation after a couple of attempts to try a modern approach to dating, each creating complications for her. These ventures are presented as vignettes and include a musician, a sleepover with her sister, a role-play costumer, dating app (mis) matches, and a film buff with a love of pickled herring.  To cap it off, these interactions provide a certain symmetry with Ann’s soulless work at a generic corporation. Imagine being rewarded with a one-year acknowledgement after you’ve worked there more than three years. You are getting a sense of Ann’s personality … somewhat less than memorable.

Ann is slumpy and frumpy, and her deadpan delivery masks a sharp wit and a spark that rarely comes through to others. As she begins the foundation of a more traditional relationship with Chris (Babak Tafti, “Billions”), her path to self-discovery seems to open up … although that path may or may not surprise you by this point. Some of the vignettes are shockingly brief, and many feature Ann in an exposed (literally) state of vulnerability. As the vignettes zip by, watching this isn’t dissimilar to scrolling through a feed. Joanna Arnow’s real life parents (David Arnow, Barbara Weiserbs) play her parents here, and serve up the only raised voices in the film as they sing an animated version of “Solidarity”. And no, Ann’s relationship with her parents is not much different than the rest of her life. At times, this ‘comedy’ feels like a beatdown, but leaves us with one key life lesson: pay attention the first time you ask, “What college did you go to?”.

Opens April 26, 2024

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Posted by David Ferguson

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