TICKET TO PARADISE (2022)

October 21, 2022

Greetings again from the darkness. I’ll begin things with a personal note, followed by a more objective and professional review. From the personal side: Writer-director Ol Parker (MAMMA MIA! HERE WE GO AGAIN, 2018) has delivered the textbook example of the type of movie that, while I understand why they get made, I find the hollowness and predictability to be anything but entertaining. On a more objective note, George Clooney and Julia Roberts are huge movie stars and will almost certainly lead the way to box office success.

Oscar winner Clooney plays David, a highly successful Chicago-based architect. Oscar winner Roberts plays Georgia, a highly successful Los Angeles-based art dealer. David and Georgia have been divorced for twenty years, and have bickered and fought a war of words and ideology ever since. They are forced to reunite and put on a happy face for the law school graduation of their daughter Lily (Kaitlyn Dever from “Justified” and BOOKSMART, 2019). The (un)wise cracks and cringe-inducing one-liners start immediately and continue as David and Georgia drop off Lily and her BFF Wren (Billie Lourd, also BOOKSMART) for their post-graduation vacation to Bali (although it’s filmed in Australia).

A googly-eyed, love-at-first-sight meet cute finds Lily falling hard and fast for local dreamboat and seaweed farmer Gede (introducing Maxime Bouttier). In the blink of an eye, David and Georgia are on a plane to Bali. Only this time they share the same mission … sabotage the wedding to prevent their daughter from making a mistake. Their “Trojan Horse” strategy and insistence on being in ‘lockstep’ are meant to be humorous, but mostly we wonder why these two can’t have an adult conversation with their adult daughter. Adding complications (though not really) to the mix is Georgia’s much younger boyfriend Paul (Armie Hammer lookalike Lucas Bravo, MRS HARRIS GOES TO PARIS, 2022). He’s a handsome French pilot who is so goofy, we can’t possibly take him seriously or think he could give Georgia pause on where the relationships in this movie are obviously headed.

This is the fifth film collaboration between mega-stars Clooney and Roberts, and after all these years, we know exactly what to expect from each of them. Clooney exaggerates his facial contortions and plays his part right down the line, while Roberts gets in a cackle or two while often wearing the most unflattering onesies you’ll ever see. If ‘paint by numbers’ is considered art, then romantic-comedy by rote would be as well. We know where this is headed within the first five minutes and only those who enjoy knowing every bump in the road ahead of the trip will find it satisfying. It’s a shame that the talented Dever, Lourd, and Bouttier couldn’t have had more to do here, but it seems superstars still rule the roost.

Opening in theaters on October 21, 2022

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MRS. HARRIS GOES TO PARIS (2022)

July 14, 2022

Greetings again from the darkness. Leslie Manville is one of those actors we take for granted. She’s so talented and versatile and typically “perfect” in the supporting roles she embodies. For us followers of British filmmaker Mike Leigh, we’ve been treated to numerous Manville performances over the years, but it’s likely she’s most widely recognized for her Oscar nominated performance in Paul Thomas Anderson’s PHANTOM THREAD (2017), where she played Daniel Day-Lewis’ sister and business partner with an icy efficiency that added heft to a terrific film. This time, Ms. Manville embraces the lead and delivers a turn as a Mrs. Harris that we would all welcome into our lives.

Writer-director Anthony Fabian (SKIN, 2008) co-wrote the script with Carroll Cartwright (WHAT MAISIE KNEW, 2012), Keith Thompson, and Olivia Hetreed (GIRL WITH A PEARL EARRING, 2003), and it is based on the 1958 Paul Gallico novel, “Mrs. ‘Arris goes to Paris”. There were four books in the series (leading to speculation of sequels), and Mr. Gallico also wrote “The Poseidon Adventure”, from which the 1972 disaster movie was adapted. We first meet Ada Harris (Manville) as she makes her rounds cleaning the homes of upper crest society. She rides the bus with her best friend Vi (Ellen Thomas), and occasionally meets up for an end of the day drink at the local pub, where Archie (Jason Isaacs) flirts a bit with her. Mrs. Harris has been biding her time for news of her beloved Air Force husband, MIA for 12 years. It’s a simple life she leads, but it’s one filled with optimism and hope and determination to live the right way.

The film shifts into ‘Adult Fairy Tale’ mode when one day Mrs. Harris falls hard for a couture Dior dress purchased by one of her clients. It’s a symbol of the beauty and opulence that has eluded Mrs. Harris her entire life. At that moment, she commits to saving enough money to purchase her own Dior dress … something that she has no rational use for. It’s mostly just a way for one ‘invisible’ woman to fulfill her own fantasy by experiencing a taste of dreamlike luxury … a rare pursuit of pleasure for this woman. A somewhat comical chain of events occurs in montage fashion as Mrs. Harris scrimps and saves (and gambles) her way to the monetary goal that puts the dress in play.

Once she arrives in Paris, the film becomes a fish-out-of-water story, as Mrs. Harris seemed to think she could stroll up to the House of Dior and have a dress wrapped up for the trip home. Claudine Colbert (the always great Isabelle Huppert), the gatekeeper of Dior, will have none of this … Dior is only for those who are deserving, not the riffraff. The scenes with the two women expertly highlight the personality differences. Mrs. Harris immediately begins to win people over with her nice demeanor. One of the keys is Marquis de Chassagne (Lambert Wilson), who takes a liking to her and invites her to view the new line as his guest. Another is Andre Fauvel (Lucas Bravo), the young accountant whose cutting-edge ideas are ignored by the “old school” stodgy types in charge. Lastly, there is supermodel Natasha (Alba Baptista), as the “Face of Dior”. She admires Mrs. Harris’ tenacity and kindness, which assists Natasha is discovering her true self.

Seeking to reach her own goal, Mrs. Harris ends up affecting the future of many others, as well as the future of the House of Dior. She has the kind of demeanor and spirit that draws in other people, while inspiring goodness. This is less about exposing elitism than applauding niceness. People are drawn to inherently nice people. As an adult fantasy, the film is likely to hold the most appeal for middle-aged women, and should be a perfect day at the theater for mothers and their adult kids.

Opening in theaters on July 15, 2022

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