ON THE ROCKS (2020) – Review

Okay, who’s ready for “family time” at the movies? Now I’m not talking about the standard “family flick” that’s usually the big animated musical fable that many use as a weekend afternoon “out of the house” excursion. And lots of you may feel a tad skittish about trotting all the kids over to the multiplex (soon we hope). This week we’ve got a real “family” film dealing with lots of adult themes that are aimed at the “grown-ups”. Oh, and it’s focused on a rare “family dynamic”: the father-daughter relationship (or to be precise in this case, mother-grandfather). Often we see dynamic clashes between mother and daughter (2017’s SNATCHED comes to mind) or brittle reunions of fathers and sons as when Indy and his pop went on that “last crusade”. On TV this pairing has been a staple from “My Little Margie” to “Gidget” leading up to the recent, sublime duo of Keith and Veronica Mars (more please Hulu). Oh, did I mention this film is also a most anticipated reuniting of the director and actor from one of the early 2000s most beloved movies? Like the former flick, there’s a marriage at its center, which, like the many cocktails downed over its 90 or so minutes, is ON THE ROCKS.

But things weren’t always that way. We first meet Laura (Rashida Jones) and Dean (Marlon Wayans) on their wedding night, still giddy about their future as they doff their gown and tux to enjoy the honeymoon suite’s hot tub. Jumpcut to that future. They’re living in a plush Manhatten condo with their two daughters, about 9 and 5 years-old. While she’s running the household and trying to finish a new book, he’s dashing and hustling with the new PR firm he formed. Actually, Dean’s gone a lot. And when he is home he’s glued to his phone. This doesn’t concern Laura till one night. Dean returns from a trip in the wee hours and hops into bed with her, waking her with kisses. But when she says hello, Dean is stunned as though he has woken from a trance, rolls off of her, and goes into a deep sleep. Later, when she unpacks his suitcase, Laura finds a women’s toiletries travel case. When asked about it, Dean says it belongs to his co-worker Fiona, who couldn’t fit it in her luggage. That evening at his company’s launch party/open house Laura meets “Fi-Fi” (Jessica Henwick) who is dismissive of her as she runs to be by Dean’s side as his “work wife”. Laura’s “radar” is up and on, though her Gran, Mom, and sister think nothing of it. Then Laura phones her father about it. And he agrees, so much so that he flies in. Felix (Bill Murray), who used to own a “high end” NYC art gallery, adores his grandbabies and his daughter “Shorty”. Over drinks, he bolsters her fears, but Laura isn’t convinced. Then Dean tells her that he can’t be there for her birthday (first time ever) and gives her an early present, a deluxe kitchen mixer/processor before he jets off to a meeting …at a resort on the beach in Mexico…with Fiona. When told about this, Felix erupts, insisting that they also make that “South of the Border” trip. But if they confront Dean, can the marriage be saved?

Perhaps the most compelling aspect of this low-key family “dramedy” is the surprisingly potent, enduring star power of Murray. Yes, he’s been an “above the title” leading man for over 40 years now, but as that whisp of hair goes shiny silver, he can move us unexpectedly by revealing new textures beneath his “laid back” forever cool persona. Is it old fashioned charm or his unique charisma that still connects? Murray utilizes all of it as the rakish Felix, who’s always “hustling”, whether it’s attending a wake to scope out a potential art score or casually “schmoosing” a server (“You studied ballet, right?”). But he’s pure in his love of his daughter. Does that account for his zeal in uncovering her marital worries? Partly, but more likely it’s a form of atonement. In their quieter conversations, Felix cuts through his anthropological and biological justifications (“Monogamy’s not in the male DNA”) and shows us a man of many years facing past regrets, hoping that his helpful actions will somehow ease the guilt of his weaknesses. This aging player’s more tragic than funny. And Murray is more than up to this acting challenge with his most subtle work in years. Luckily, he’s got a terrific screen partner in Jones, who has mostly made her mark on TV with the great comedies “Parks and Recreations”, “Angie Tribeca” and “#BlackAF”, here establishes herself as a gifted film actress. Her Laura still has a great passion for life and her family but thinks that perhaps she’s lost her hubby’s eye, that her domesticity has made her less worldly and interesting. But she’s got to put up a “solid front” as she hides her discomfort at the office party, then feign joy over an appliance gift, while also disappointed that Dean will be away on her birthday. She is also smitten with Felix but finally vents her anger over being swept up in his “mindset” as she calls him out on his “science” excuses for bad behavior. Jones makes Laura a great heroine to root for, and gives the story its beating heart. Another pleasant surprise is Wayans, who jettisons his zany comic persona, to be an affable, but often clueless “everyman”, who just can’t quite “get the vibe” of his partner, nor her pop. An added bonus is the fabulous Jenny Slate who elicits lots of laughs as the “emotional vampire” Vanessa. another mom at the school where Laura’s eldest attends, who drones on about her romantic problems as Laura is trapped with her in a hallway or at the school entrance. Slate’s way overdue to lead another quirky comedy.

Oh, the reunion I mentioned earlier? It’s a reteaming of Bill Murray with director/screenwriter Sofia Coppola, seventeen (really) years since the much loved LOST IN TRANSLATION. Ms. Coppola again takes double duty (triple since she’s also a producer) and has created another relationship and bonding fable between the generations that offers lots of wit while not backing away from life’s darkest fears and worries (what if he’s moved on). Though not using the exotic locales of the earlier project, Coppola finds the spacious beauty in the canyons of NYC, even in the big rental buildings and the “old school watering holes”. Ah, but there is that third action section in Mexico where the ocean breezes seem to slow down time, but not ease Laura’s near-panic. All are captured in warm golden hues by cinematographer Phillipe Le Sourd and accompanied by the soulful music score from Phoenix. And although most of the humor is subdued, a scene in which Felix picks up Laura in a classic 60s convertible for a night of spying uses some great slapstick (the car looks great, but sputters and backfires as they zoom past angry commuters) and is topped with another remarkable bit of Murray charm (it works on the ladies, but what about “John Law”). As far as daughter/father family dramedies go, ON THE ROCKS is on the money, a very bright spot in a dark dreary year.

3.5 out of 4

ON THE ROCKS opens in select theatres on Friday 10/2. It will be streaming on AppleTV beginning on 10/23.