LITTLE RICHARD: I AM EVERYTHING (2023, doc)

April 21, 2023

Greetings again from the darkness. Good golly! Documentarian Lisa Cortes packs a lot into this profile of Richard Wayne Penniman, better known as Little Richard. Director Cortes sticks with a familiar structure for the biopic; however, two things stood out to me about this documentary: it features remarkably little music for a musical doc, and it works well for both those who are very familiar with the legendary performer and those needing an introduction.

In cradle-to-grave fashion, we learn about Richard’s mother and father, and that he was one of 12 children in the family from Macon, Georgia. Plenty of photographs and clips from the era are included, and things really kick in when the history of “Tutti Frutti” is discussed. Shifting a bit from its original meaning, Little Richard served up a searing version that shocked many. But what shocked him is that much tamer versions from Elvis and especially Pat Boone outsold his. I particularly enjoyed learning that Little Richard picked up his famous scream from gospel singer Marion Williams.

Ms. Cortes utilizes many interviews by Little Richard himself to cover his complex life filled with contradictions and new paths. His father kicked him out of the house for being gay, setting him up for a lifetime of searching for his true identity. Richard’s track included pushing the early boundaries of rock and roll, pushing further boundaries in the world of queerness, exploring many facets of religion and attempting to balance his belief in the bible with his love of orgies, and his lifelong search for a true identity.

It was the 1956 film, THE GIRL CAN’T HELP IT, that provided most people’s first glance of Little Richard performing. The same can be said for Fats Domino, Eddie Cochran, and Gene Vincent, among others, but none had the impact or the look and music of Little Richard. His many hits after “Tutti Frutti” included “Long Tall Sally”, “Lucille”, and of course, “Good Golly, Miss Molly”. It’s fascinating to hear Mick Jagger, John Waters, Tom Jones, and others provide the acknowledgment of Little Richard’s influence, however, even more interesting is listening to Little Richard himself walk us through his various stages of being. This is a man who, lacking an ounce of humility, proclaims, “I’m the one who started it all”, referencing Rock and Roll. He’s also the man who renounced his gay identity in order to embrace religion and begin preaching.

Little Richard was a master showman with a daring and hyper-energetic stage presence. None other than The Rolling Stones once opened for him on tour. His tongue-in-cheek catchphrase became “Shut up”, and he was heavily into drugs during the 1970’s. Little Richard was inducted into the Hall of Fame in 1986, and he has taken credit for the success of most every rock star over the last 70 years … and the fabulous closing montage makes it difficult to argue. Director Cortes does justice to the complex life of a complicated and talented man, and ‘Good Golly’, that was no easy task.

Opening in theaters and on Digital beginning April 21, 2023

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Posted by David Ferguson

JUDY BLUME FOREVER (2023, doc)

April 21, 2023

Greetings again from the darkness. It’s not unusual for readers to feel a connection to their favorite author, but very few can match the bond shared by writer Judy Blume and her followers. Co-directors Davino Pardo and Leah Wolchok set out to profile the writer whose staggering sales figures (more than 80 million books sold) pale in comparison to the impact she had on so many young girls.

A film adaption (directed by Kelly Fremon Craig) of Ms. Blume’s most well-known book, “Are you there, God? It’s me, Margaret”, is set for a release that corresponds to this documentary, so it’s likely her work is about to experience a revival of sorts. You might wonder how a 1970 book for adolescent girls could still have relevance today, and the answer is that the author is one of the few who addressed what mattered (and matters) to this group: masturbation, menstruation, relationships, body development. Blume’s work addressed these topics in such a way that girls could not only easily relate, but they felt comfort in knowing that they weren’t facing these changes alone. Blume became a best-selling author and a trusted advisor.

The filmmakers opt to include interviews with celebrities such as Molly Ringwald, Lena Dunham, and Samantha Bee, yet it’s the words from “normal” girls and women who recount the impact of the books that strikes an emotional chord. Watching Judy go through the mounds of letters she received from readers brings emphasis to what matters here. Yale University houses Blume’s archies, letters, and papers, and we sense the sentimentality as she re-reads some of these. Regular correspondence with writers Mary H.K. Choi and Lorrie Kim is remarkable, but it’s the consistent letters back and forth with Karen Chilstrom over so many years that pack an emotional wallop. Segments with Judy’s own children, daughter Randy and son Larry, are also included.

We learn Judy was a traditional 1950’s housewife who pursued a career of her own, a not-so-traditional move of the times. She persevered despite many closed doors, and went on to have incredible success doing exactly what she wanted in a style that bucked the trends. That she sold so many books is remarkable when you consider that the target audience for many of her books were too young to even buy books. We see numerous clips of Blume on TV Talk Shows telling her story … her confrontation with ultra-conservative James Buchannan is particularly entertaining. Although the film goes mostly in chronological order, only the most ardent fans will know what year a book being discussed was released. Now in her 80’s, Blume and her husband run a bookstore in Key West with a posted sign that reads … “We sell banned books.” What a fitting exclamation point to a remarkable woman and her career.

Streaming on Prime Video beginning April 21, 2023

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Posted by David Ferguson

GRINGA (2023)

April 21, 2023

Greetings again from the darkness. When a 16 year old girl has self-esteem issues, it can be painful to watch. As adults, we know it’s likely to get better, although it’s also possible things get worse before they improve. And ‘things getting worse’ is exactly what happens to Marge in this film co-directed by Marny Eng (long time stunt performer and coordinator) and EJ Foerster, and written by Patrick Hasburgh (writer and creator of TV series “Hardcastle and McCormick” and “21 Jump Street”).

Marge (Jess Gabor, “Shameless”) and her mother (Judy Greer) are both having a hard time. Mom is a California realtor who seems to go through men faster than she sells houses, and Jess is a self-described “fat and slow” bench-warmer on her soccer team, while also battling bulimia and her unpopularity with classmates. It’s at about this time when the “getting worse” part happens for Marge, and soon she’s crossing the border in search of her dad, who left home when she was two years old.

Jackson (Steve Zahn) is a former soccer star-turned alcoholic-surfer, and is no more prepared to be a father now than when Marge was born. It’s an awkward reunion since neither father nor daughter know the other, but they agree to spend a month getting familiar. It’s fun to watch these two bring out the best in each other. Dad promises to stop drinking and treat his girlfriend (Roselyn Sanchez, “Without a Trace”) better, and Marge cleans up her diet and magically improves her soccer skills while subbing for the local team her dad is coaching.

Mr. Zahn has been a familiar face and dependable performer since the early 1990’s, and was recently seen in season one of “The White Lotus.” In this role, he gets to flash some of his trademark goofiness, while also showing some depth as a man-child trying to get his act together. Zahn’s connection with Ms. Gabor is what makes the film click. While not familiar with her previous work, I was impressed with Gabor’s range her and realistic portrayal of a teenager in pain – slumped shoulders and plate of tacos, etc. Ms. Greer has a limited role here, and supporting work comes from Jorge A Jimenez, Valentina Buzzurro, and Nico Bracewell. It’s not really a comedy, although there are some slightly comical moments, and the first two acts are well done, though the poor sound mix and muddled final act don’t end things on a high note. It may seem formulaic at times, but noticing new talent is always a welcome development.

In theaters and VOD beginning April 21, 2023

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Posted by David Ferguson

TO CATCH A KILLER (2023)

April 21, 2023

Greetings again from the darkness. Argentinian writer-director Damian Szifron was behind the terrific WILD TALES (2014), which received an Oscar nomination for Best Foreign Language Film, and this time out, he and co-writer Jonathan Wakeham venture into psychological crime procedural territory. A captivating opening sequence, expert photography, and top notch acting from the two leads keeps us watching, although there seems to have been some confusion on the best path for the script. The end result is watchable, but not memorable.

It is New Year’s Eve in Baltimore and celebrations, revelry, and parties are occurring all over the city. As beat cop Eleanor Falco (Shailene Woodley, THE FAULT IN OUR STARS, 2014) negotiates a mundane rift between an irritated diner owner and a slow-eating customer, shots begin to ring out. This frantic sequence captures the panic as we witness a few of the 29 gun shots that find a target. Officer Falco races a couple of blocks to the high-rise building where an explosion occurs. It turns out the sniper destroyed his own lair in order to avoid leaving evidence.

Enter renowned FBI Agent Lammark (Ben Mendelsohn, ANIMAL KINGDOM, 2010) who takes charge of the investigation. This point is mentioned because the chain-of-command plays a vital role in the proceedings … Lammark wants to run the investigation, but bureaucrats and politicians interfere. Lammark hones in on Falco and her instincts. Of course, she has a checkered past that includes having her FBI application denied. Here she acts as a liaison and provides insight into the killer. Get it? One damaged person can relate to another.

Some social commentary gets periodically interjected – gun control, power plays by law enforcement, misplaced priorities by politicians – but the fun part is watching Mendelsohn and Woodley flash their respective talent. She’s kind of a flawed Clarice Starling and he’s a guy that is committed to finding the bad guy. Filmed in Montreal, cinematographer Javier Julia maintains a cool atmosphere throughout, and Carter Burwell’s music delivers some excellent piano parts. This ends up being one of those movies that’s enough fun to watch if you don’t think too hard while it’s playing, and it also reminds us that Ben Mendelsohn and Shailene Woodley are fine actors who deliver in every role.

Opens in theaters on April 21, 2023

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Posted by David Ferguson

SOMEWHERE IN QUEENS (2023)

April 21, 2023

Greetings again from the darkness. Big Italian families in New York offer a smorgasbord of opportunities for interesting stories and characters. Ray Romano from “Everybody Loves Raymond” takes on his first feature film as writer-director, and he and co-writer Mark Stegemann (“Scrubs”) embrace the noise and combustibility of just such a family. During the story they make us laugh and cringe.

Romano also stars as Leo Russo, husband to Angela (Laurie Metcalf, “Roseanne”) and father to “Sticks” (relative newcomer Jacob Ward). What we soon figure out is that Leo is a helicopter parent to high school basketball star Sticks, while Mom is overprotective and scared of losing her son … while being constantly annoyed with everything due to another issue she’s trying to deal with on her own. We also see Leo works in the family construction business for his dad (Tony Lo Bianco) and douchey brother (Sebastian Maniscalo), both of whom show him no respect.

Sticks is an extremely quiet and shy high schooler who has battled anxiety issues his entire life. Both parents are shocked to discover he has a girlfriend. Dani (Sadie Stanley, “The Goldbergs”) is a free-spirit who is ready to shake the dust of Queens as soon as she graduates. She and Sticks couldn’t be any more different as she is confident and outgoing in contrast to his usual state of withdrawn.

During one of the big family Sunday dinners, we get one of the best meatball jokes ever, and the many family events (weddings, babies, etc) provide numerous opportunities for gags and punchlines. Beyond the comedy, there is true drama on display, and it kicks into uncomfortable gear when helicopter dad displays extremely poor judgment … made worse that he’s doing it for the wrong reason. His actions send shockwaves through the family. Parents often use “their kid’s best interest” as a reason for making decisions, but here it’s obvious to all (except Leo) that self-interest was the driving force.

There is a bit of a sitcom feel to the film at times, but the cast certainly elevates the project making the situations more believable. It’s awesome to see Tony Lo Bianco with a substantive role. He was everywhere in the 1970s and 1980s, including classic films THE FRENCH CONNECTION (1971) and THE SEVEN-UPS (1973). Ramono, Metcalf, and Maniscalo are all fine in their roles, and additional support work comes from John Manfrellotti, Jennifer Esposito (“Blue Bloods”), and Karen Lynn Gurney (for the SATURDAY NIGHT FEVER fans). But the real find here is Sadie Stanley and her electrifying smile. She is a true rising star. The film is full of characters who are all frightened or unsure, and despite the iffy family dynamics, it’s a reminder that each person must find their own way in life, even if the support from their family is a bit shaky.

Opening in theaters on April 21, 2023

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Posted by David Ferguson

MIRANDA’S VICTIM (2023)

April 19, 2023

Greetings again from the darkness. “You have the right to remain silent.” Whether you say it out loud or just finish it in your head, the vast majority of us know what follows, even if it’s (hopefully) just from watching TV and movies. You likely also know that it’s part of The Miranda Rights … a list of rights that anyone being arrested is entitled to. If you are like me, you probably hadn’t put any thought into the origin of those rights or the requirement for law enforcement to recite them in a timely manner. Director Michelle Danner (THE RUNNER, 2021) and co-writers George Kolber and J Craig Stiles are here to educate by bringing us the story of Trish Weir and Ernesto Miranda.

The film is based on the true story of Trish, an 18-year-old working at a local movie theater. After one late night bus ride home from work, she was abducted and raped. As Trish, Abigail Breslin proves yet again that she is a terrific actor, and fully grown up since her breakthrough performance in LITTLE MISS SUNSHINE (2006). What follows is gut-wrenching, and likely a scene that played out all too frequently fifty years ago, and still occurs today. Trish’s mom (Mireille Enos, “The Killing”) tries to dissuade her from going to the police by warning her that “they never believe the victim”, and that she will then be considered “damaged goods.” It’s painful to watch this play out, despite knowing that mom thinks she is protecting her young daughter. Trish’s sister Ann (Emily Van Camp, “Revenge”) is very supportive and follows her to the doctor for the initial check-up, to the police station for filing the report, and ultimately to the courtroom.

There is much to consider in this story. How courageous was Trish for standing up and pursuing the case? How about the detectives (played by Enrique Murciano, Brent Sexton) who recognized that even though other victims had chosen not to come forward, Trish could help them stop a really bad guy? And then there is a legal system that was unfair to both Trish and Ernesto Miranda (Sebastian Quinn), as well as the attorney, judges, and jurors involved with the cases. Fittingly, a clip of the 1962 classic TO KILL A MOCKINGBIRD is shown, emphasizing the wheels of justice turn slowly. We see that the ACLU attorney (Ryan Phillippe) gets involved when he believes Mr. Miranda was coerced into a confession. This is the case that changes everything.

Supporting work comes from Luke Wilson as Trish’s attorney, Lawrence Turoff; Andy Garcia as Miranda’s first defense attorney, Alvin Moore; Donald Sutherland as a judge in the case; Taryn Manning (“Orange is the New Black”) as a key witness; Dan Lauria as the examining doctor; and Kyle MacLachlan as Chief Justice Earl Warren, who is excited for a rare public reading of the Supreme Court’s landmark ruling in 1966. It should be noted that the film is very well acted, with the notable exception of Ryan Phillippe, who tries oh-so-hard to steal his scenes, failing painfully.

Michelle Danner’s work as director here is exceptional, given how many facets to the story must be juggled and given proper due. Even the re-trial of Miranda is handled well, as Trish is put through another round of emotional turmoil, this time involving her spouse. The film ends with a startling statistic: only 5 of every 1000 sexual assaults result in a conviction. Those are today’s figures, so we are left to wonder just how much has changed over the past 60 years.

The film is currently playing the Film Festival circuit

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Posted by David Ferguson

RARE OBJECTS (2023)

April 14, 2023

Greetings again from the darkness. The emotional turmoil in the aftermath of being the victim of sexual assault is incomprehensible to anyone who hasn’t experienced such trauma. Writer-director Katie Holmes and Phaedon A Papadopoulos have adapted Kathleen Tessaro’s 2016 novel, transitioning it from depression-era to modern day New York City. At the center of the story are two women, one working diligently to regain some control of her life, and another with a form of mental illness that seems to prevent a return to normalcy.

We first see Benita (Julia Mayorga, “American Rust”) as she is ending her stay for therapy. She has been the victim of a sexual assault that led to an abortion. Her reunion with her mother (Saundra Santiago, “Miami Vice”) is quite awkward since Benita hasn’t told her mom any of what she’s been through … only that she’s taking some time off from college classes. As Benita looks for a job in the old neighborhood, we see her visions and flashbacks – what led to the attack, as well as her bonding with Diana (director Katie Holmes) during therapy.

The owner (Alan Cumming) of a local antique shop takes a shine to Benita and not only offers her a job, but also tutors her on how best to deal with their customer base. One of those customers happens to be the same Diana from therapy. It turns out Diana and her brother come from big money, and he does what he can for his sister. Things get interesting when the shop’s co-owner, Winshaw (Derek Luke, Holmes’ co-star in PIECES OF APRIL, 2003) shows up. Life lessons and philosophical mutterings are sprinkled throughout conversations in the shop, and Benita really values her budding friendship on the outside with Diana.

The lessons here are plenty, and most of them are quite obvious and re-treads from other stories. One can’t ever really go home again and have it be the same. Old friends may run into each other, but the connection is different in adulthood (partners, kids, jobs, etc all change people’s priorities). We can all make new friends, but if the history isn’t there, the bond is only so strong. Alan Cumming offers up the best lesson when he discusses how broken vases can be reassembled, with their repaired cracks creating more beauty and value. Everyone in this movie is broken in their own way, and it’s true that for those who persevere, the cracks add strength and beauty. Julie Mayorga is a rising star, and Saundra Santiago, Derek Luke, and Alan Cumming all deliver their usual strong performances. Looking at bad memories as bad dreams can often help folks recover, but true mental illness is a significant battle for all involved. As a side note, this is yet another movie where the background music is played entirely too loud and often interferes with the dialogue and flow.

Opening April 14, 2023

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Posted by David Ferguson

ONE OF THESE DAYS (2023)

April 14, 2023

Greetings again from the darkness. Thanks to the onslaught of ‘Reality TV’ over the last decade, we seem to have lost empathy for those whose lot in life has driven them to submit to acts of desperation in hopes of finding a way forward. Writer-director Bastian Gunther has used the real-life east Texas events featured in the 1997 documentary, HANDS ON A HARD BODY, to create a drama depicting the fallout from such extremes.

Kyle (Joe Cole, “Peaky Blinders”) is a down-on-his-luck local guy with a wife and young daughter. Life is hard and he’s desperate to improve their way of life. However, he’s such an honest and good person that our impression is that he’s one of those who just gets continually kicked while down. When Joan (Carrie Preston, “True Blood”), in her role as Public Relations Director for Boudreaux car dealership, announces a contest to win a new pickup truck, Kyle sees his chance to make things better for his family.

If you have read about the dance marathons held in the 1920’s and 1930’s, or seen Sydney Pollack’s film, THEY SHOOT HORSES, DON’T THEY? (1969), then this “last person standing” concept will be familiar. A lottery is held to select twenty people who will compete for the vehicle in a test of endurance: they must keep one hand on the truck at all times, taking only short breaks with no chance for sleep. The expectation is that this could last 100 hours, with sleep deprivation and psychological willpower certainly in play. It’s a diverse group of twenty, and mind games are afoot, especially by one of the participants, Kevin (Jesse C Boyd) … one who no one recognizes.

Since watching people stand around touching a truck lacks cinematic drama, director Gunther infuses some of Joan’s less-than-stellar personal life, while also offering tidbits on some of the participants. Much of the focus is on Kyle, even as exhaustion, hallucinations, and health issues begin to creep in. The opening segment provides us with a Google Earth-type lay of the land in this rural community, and we quickly understand the stress of poverty – a stress that is eating away at Kyle.

A surprising plot twist with one of the participants elevates the tension, but it’s not until the final act where Gunther follows an unconventional structure that is downright confounding. We believe our story will end when the truck is awarded to the last one standing, but that’s not what happens. It’s an unusual story structure and one that’s challenging to deal with as a viewer. The characters feel real, and having been inspired by true events, the “hands on” competition is believable and uncomfortable to watch. This is a different kind of storytelling as it turns the familiar rural community trope sideways and shakes it up.

IN THEATERS, ON DIGITAL AND ON DEMAND APRIL 14, 2023

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Posted by David Ferguson

AIR (2023)

April 10, 2023

Greetings again from the darkness. “Where’s the Beef?” That iconic Wendy’s TV commercial featuring Clara Peller is but one of the many references flashed during the opening montage designed to ensure every viewer understands we are headed back to 1984. Yes, it’s been nearly 40 years since Michael Jordan was drafted third overall by the Chicago Bulls. An important point to make is that this is only tangentially a basketball movie, and it’s certainly not a Michael Jordan profile. SPACE JAM (1996) had more basketball and more Jordan than this one. Instead, this is a rare business movie … specifically the story of how one decision by Nike not only saved their basketball shoe division, but also revolutionized the entire sports shoe market and the relationship between shoe manufacturers and athletes (at all levels, though the focus here is the NBA).

Chicago native Alex Convery’s script (his first feature film) had long been on Hollywood’s blacklist of screenplays, and it wasn’t until lifelong friends Ben Affleck and Matt Damon got involved that the project gained legs. The two buddies previously won an Oscar for their GOOD WILL HUNTING (1997) screenplay, and Affleck won a Best Picture Oscar for producing ARGO (2012). This time, in addition to their script tweaks, Affleck appears as Nike CEO Phil Knight (he of the grape Porsche), while Damon stars as Nike recruiting expert, Sonny Vaccaro.

At this point in 1984, Nike has recently gone public, having built their reputation on running shoes. However, the basketball division has never really succeeded due to the dominance of industry leaders Converse and Adidas. In fact, Vaccaro has been warned by Knight that the division could be shut down by the board of directors if this year’s budget isn’t turned into a pot of gold. Vaccaro, a recognized guru in scouting basketball talent, seems to be working from a point of desperation … or perhaps it’s excitement … when he becomes obsessed with signing Michael Jordan. Hilarious and profane exchanges with Jordan’s powerhouse agent, David Falk (Chris Messina) offer little hope, so Vaccaro sees only one chance at success – a personal visit to the Jordan home in North Carolina. This is typically a taboo move, and one that causes grief for Vaccaro from all sides.

It’s at this initial meeting with Jordan’s parents, Deloris (EGOT Viola Davis) and James (Julius Tennon, also Ms. Davis’ real life husband) where the door cracks for Vaccaro due to his sincerity and idealism. The battle at the corporate office finds Phil Knight reminding Vaccaro who’s in charge, Vaccaro reminding Knight of the risk-taking that built the company, and marketing director Rob Strasser (Jason Bateman) doing what he can to inject rational thought, while hoping to keep his job. As the big presentation approaches, it’s shoe designer Peter Moore (Matthew Maher), who pulls a rabbit out of the hat with his design and name for the shoe. Maher is fabulously awkward during his scene-stealing. There has always been conflict on who came up with “Air Jordan”, Moore or Falk, and the film handles this admirably.

Damon gets a few scenes to rattle off big moments of dialogue, but none matches his peak inspirational soliloquy during the presentation. And this despite the rapid-fire musings of Chris Tucker. Tucker, in a rare big screen appearance, plays Howard White, who would become Jordan’s personal handler (and friend) for Nike over the years. As you might guess, it’s the always terrific Viola Davis who outshines everyone. Her final phone call with Vaccaro is a thing of beauty, and a moment that will likely find her in awards discussion at year end.

Three-time Oscar winning cinematographer (and 10-time nominee) Robert Richardson finds the perfect throwback look for the film, while Costume Designer Charlese Antoinette Jones captures the frumpy look of Vaccaro and the arrogance of Knight and Falk. The only real weakness here stems from director Affleck’s insistence on over-doing the “remember 1984” moments with music and cultural references … including cracks at the expense of Kurt Rambis and the late Mel Turpin. No real suspense exists since the entire world knows Jordan signed with Nike, but the risk-taking in business is reference numerous times. While many kids truly dreamed of being like Mike, many Business majors and CEOs dreamed of being like Knight. The best comparison here is probably MONEYBALL (2011), since at its core, this is the story of an underdog.

Currently showing nationwide in theaters, will stream on Prime Video later this year.

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Posted by David Ferguson

PAINT (2023)

April 5, 2023

Greetings again from the darkness. You might wonder how a low-key painter becomes ubiquitous, evolving into the source of pop culture references in everything from “Saturday Night Live” to “Family Guy” to recent horror film SMILE. Bob Ross hosted “The Joy of Painting” on public television from 1983 until 1994. His soft-spoken manner and ability to connect with the audience while finishing a painting in 30 minutes drew in many dedicated viewers and turned him into an unlikely celebrity (as did the internet). Writer-director Brit McAdams uses Bob Ross as inspiration for his first feature film.

Though it’s certainly not a profile or biography of Ross, Owen Wilson’s portrayal of Carl Nargle is part tribute and part caricature, and it seems that McAdams wanted to go the comedy route, despite most gags and punchlines landing as softly as Carl Nagle’s signature sign-off, thanking viewers for finding that “special place.”. Whereas Ross’ whispery vocal seemed soothing, Wilson’s is kinda creepy. The comedy never really lands for a few reasons, but mostly because we don’t much care for Carl Nargle and his out-of-touch ego and misogyny … although this isn’t the fault of Wilson, who does his best with what he’s given.

Carl Nargle’s (a fictional character) painting show has been a long-time fixture on the Vermont PBS channel where he regularly creates landscapes featuring Mount Mansfield. His loyal audience ranges from the elderly at a senior citizen center to the frequenters of a local dive bar to the women drawn to Carl’s calm nature and fold-out bed in the back of his custom van. The latter group includes his ex, Katherine (a criminally underutilized Michaela Watkins), who is also the program manager, and Carl’s assistant Wendy (Wendi McLendon-Covey). His newest interest is the young intern Jenna (Lucy Freyer), who seeks to be the next to receive the gift of a painting, which Carl gives to each conquest. But times are changing for Carl. Station Manager Tony (Stephen Root) needs a ratings boost and seizes the opportunity by hiring Ambrosia (Ciara Renee) to bring in new painting blood. There is more to the competition between Carl and Ambrosia than painting and ratings and ego … it extends to Katherine, generating an entirely new dynamic.

The film has a lackluster feel to it. While some would-be intriguing topics are broached, none of them are explored to the point of creating any real interest. As for the comedy, there is no energy or sharpness. It comes across as believing many punchlines and situations are funnier than they really are. Everything is just a little off … doesn’t quite work as comedy, satire, self-discovery, or drama. To top it off, the timeline is confusing. While no cell phones are present, it never gives off a strong enough vibe for us to place the era. There is simply no joy in this painting.

Opens in theaters on April 7, 2023

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Posted by David Ferguson

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