Author Archives: Jim Batts

About Jim Batts

Jim Batts was a contestant on the movie edition of TV's "Who Wants to be a Millionaire" in 2009 and has been a member of the St. Louis Film Critics organization since 2013.

MAYDAY (2026) – Review

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This weekend’s big streaming premiere harkens back to a movie staple of the 1980s, the “mis-matched” buddy action comedy. And, appropriately enough, it is set in the 1980s. Another exercise in nostalgia, you’d think. Well, it’s a bit more complex than that since a big chunk of it deals with the then still “very frigid” Cold War between the US and the Soviet Union (a bit like that 81′ classic STRIPES). As for the “buddies”, we get a most unusual pairing of actors (and acting “styles”). Toss in much of the main plot of 2001’s BEHIND ENEMY LINES, chill, and then cool off with an irreverent road trip that starts with a frantic distress call of MAYDAY.

It is 1987, the last couple of Cold War years, when we meet Navy fighter pilot and “hot shot”, Troy “Assassin” Kelly (Ryan Reynolds). After helping out another pilot when his jet malfunctions, Troy stops off to visit his ailing papa Harold (David Morse). Troy wants to spend the evening with him, but Dad insists that he join his flyer pals for a night on the town. Their revelry is cut short when they run into their C.O. (Clark Johnson), who wants a private “word” with Troy. He’s going to be the “second seat” or co-pilot on a “hush hush” trek into Russia to snap some photos of a “secret operations base”. However, things go “sideways” when enemy jets attack. The Air Force’s main pilot is killed, and Troy must eject when the “spy plane” is destroyed. Flaming debris rips his chute, causing him to plummet into a snowy Russian forest. Before he blacks out, Troy sees an approaching man with a rifle. When Troy comes to, he’s tied to a bed inside a cabin. His wounds have been treated by his “rescuer”, ex-KGB Nikolai Ustinov (Kenneth Branagh). Ah, but he’s not going to take Troy to the military or the police. It seems that “Nick” adores everything about the ole’ US of A, with posters adorning his walls and a very illegal VHS “bootleg” of TOP GUN always playing on his TV. The place is warm and cozy, but Troy wants to get home. Nick insists that his former comrades are on the hunt for him, so Troy’s best escape plan is to steal an “untappable” airwave telephone and contact the US Embassy in Moscow, many miles away. But he can’t do it alone. Can these two former foes work together to escape the quickly advancing agents of the USSR and avoid an “international incident” that could heat up the COLD WAR?

And so how are these two “action buddies”? Surprisingly good, it turns out. Who’d ‘thunk it? Maybe it’s because they both “eased” a touch out of their “comfort zones”. That’s certainly the case with Reynolds as he softens his motor-mouthed wiseguy persona and makes us really connect to Troy’s plight. He’s the ultimate “fish out of water’ and that’s near the boiling point. Still, Reynolds’ Troy is steadfast, determined, and caring, particularly in the opening scenes with his hospitalized Pop. And Reynolds shows us that Troy gradually warms to his “enemy/healer/guide” Nick, subtly played by the talented Branagh. In past roles, he’s often overwhelmed his roles with bombast and bravado. Here, he shows us the quiet intensity and intelligence of a man hoping to atone for his past while reaching for a brighter new life in that utopian ideal of America (he so wants a Big Mac). Branagh also stuns in the complex “close quarters” combat sequences (can he really be in his 60s?). The film provides him with a great arch-nemesis in the current KGB overlord Volkov, played by Marcin Dorocinski with a constant menacing sneer. He’s disgusted by the warming relations with the US, and sees the capture of Kelly as a way to get Russia “back on track”. Opposing him is Nick’s estranged daughter Anna, played by “Borat’s daughter”, the compelling Maria Bakalova (also great in THE APPRENTICE as the first wife of DJT). She doesn’t hesitate to help Troy in his escape plan, but still questions her papa’s motives, while we see her yearning to reconnect with him. Morse is solid as Kelly senior, as is Johnson’s Troy’s military patriarch. Kudos also to Louis Cancelmi as the humorless Air Force “a-hole” and the hilarious Jacob Hanlon as Gorgo, the lad with the frozen “sour and sinister gaze”.

This is another solid entertainment from the writing and directing duo of Jonathan Go;dstein and John Francis Daly (forever Sam Weir on the one-season TV classic “Freaks and Geeks”). After their last flick, the “better-than-it-deserved-to-be” 2023 Dungeons and Dragons reboot, the team has returned to a more grounded reality with this action-character-driven comedy. And the action is indeed very good, going from the amazing aerial acrobatics in the first act (“Maverick”-worthy), with a nail-biting sky attack, to a dazzling barroom brawl, and a harrowing chase aboard a moving train. Sure, we’ve seen these types of set pieces before, but there’s a terrific vitality to this new “take” mainly thanks to Reynolds and especially Branagh. The Cold War paranoia is expertly recreated, down to a brief ideology debate between Troy and Nick. The film has some great location work, with Canada and Hungary seemingly subbing for Russia. So much of this is truly engaging, though a trip into 80’s action fantasy-overkill involving a big parade just doesn’t mesh with the deft blending of thrills and laughs in the earlier segments. Still, this remains a solid, briskly paced, well-acted nostalgic ride filled with engaging twists and turns that deserved a slot at the multiplex. You’ll give your big-screen home streaming set-up a terrific workout and a cinema showcase for the often marvelous MAYDAY.

3 Out of 4

MAYDAY streams exclusively on Apple TV on Friday, September 4, 2026

BUDDY (2026) – Review

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Well, that’s a coincidence. This last weekend of Summer sees another feature film with its roots in Children’s TV pop culture. While the Looney Tunes crew originated as short subjects in movie theatres, when TV arrived, these seven-minute epics had a long-time Saturday morning slot on network TV, while being part of the content for many local “kiddie shows” hosted usually by members of the “news team” (in my area, the longest airing was “Cactus Pete”). This other flick explores the world of puppet shows and other “live-action” programs centering on actors in big puffy costumes that were a staple on “edu-tainment” programs, usually on weekday afternoons on PBS affiliates. Oh, the other big difference between these two movies is that the other one is a satirical comedy while this one is almost purely parody-horror. Yes, you read that right. And, like many other horror icons like Michael, Jason, and Freddy, he’s also best known by his first name. It’s BUDDY.

Oh, and that’s the name of the TV program, “It’s Buddy”.The film’s first moments are the show’s opening titles, introducing the energetic preteen human children cavorting with a six-foot-tall plush orange unicorn. In this bright, shiny pastel-colored world, everything seems to be alive, from the mailbox to the furniture, and even a backpack named “Strappy” that belongs to a young girl named Freddy (Delaney Quinn). There are also some “peripheral adult” humans like Mailman Miles and Nurse Nancy. However, the main”players” are Freddy and her pre-teen pals Wade, Oliver, and Josh. Oh, Buddy is their fuzzy lil’ toy that comes to life and “life-sized” (voiced by Keegan-Michael Key) when the kids speak his name. In this episode, the kids are throwing a big “dance party”, which excites everyone except for the surly (maybe he’s edging closer to being a teen) Josh, who would rather read his SF book. Buddy takes him aside and tries to gently prod him into some dance moves. When Josh balks, Buddy pushes him “off-camera”. On the next episode, there’s a new character in the opening, Hannah. When Freddy and Wade ask Buddy about Josh, Buddy tells them that he’s gone to “Diamond City”. Later, Freddy spies Josh’s book in “Trashy”. And when they see Buddy with Nurse Nancy, the kids know that something is very wrong. Can they escape Buddy’s “slay ground”?The story then switches to the “real world”, as a busy mother, Grace (Cristin Miloti), begins to unravel as she has flashes of a different reality. This concerns her hubby Ben (Topher Grace) and her two sons. These dark thoughts culminate when the TV pops on to reveal a beckoning Buddy, an image Ben doesn’t see. And there’s nothing about this show online. Can she, along with Freddy and her pals, escape the warm, lingering long hugs from this orange “play(slay)mate”?

Most of the heavy human “dramatics’ are handled by two actresses. The one in “reality ” is the talented Ms. Milioti (so wonderful in the HBO limited series “The Penguin”) as the distraught and extremely confused Grace. She is a “woman on the edge” and Milioti draws us into her fearful realizations, while also venting her frustrations when being casually dismissed. In the TV world, it’s Quinn as the increasingly frightened Freddy. She’s the first to see that all is not “sweetness and fun” in their backyard setting. Yet Quinn gives her an inner strength and intelligence that keeps us in her “corner”. Topher Grace uses her sitcom-honed comic timing as Ben tries to understand and stifle this “disruption”. Without spoiling this inspired casting, another one of the trapped humans is played by a cult TV fave who’s a beloved star’s sibling (hint hint). And his fellow traveler is a snarky puppet voiced by a two-time Oscar-nominated actor. But the best vocal performance is Key in the title role (with Sergey Zhuravsky in the big suit), who switches from an all-too-sweet “sing-song” cadence to threatening passive-aggressive menace that is quite chilling.

Much like this year’s big hits OBSESSION and BACKROOMS, this is “high concept horror” on a grand scale, orchestrated by another filmmaker from the online short film arena. Casper Kelly made a big splash with his remarkable 80’s sitcom spoof TOO MANY COOKS a dozen years ago, so he was more than adequately prepared for this deep, deep dive in 1990’s kids’ TV. Crafting the screenplay with Jamie King, they capture the brightly lit, candy-colored fakery of that era, mixing elements of “Pee Wee’s Playhouse”, “Thomas the Tank Engine”, and, well, let’s call him “Purple-saurus Rex”, complete with a quartet of kids a bit too mature for the show’s intended audience. So they have the “look” down pat, but is this an SNL-style TV spoof skit that’s stretched too thin for a feature? This is a fairly brisk 96 minutes, helped by the jumps between the “TV world” and the “real”. And there’s a sustained creepy vibe, heightened by the artificiality of the settings, especially the songs and “hi-jinks”. And, as the online ads promise, it is gory, more than earning its “R” rating, though that is exaggerated to excess. Kudos to the use of practical effects, though some CGI is used sparingly. Kelly and King’s script takes several interesting and unexpected twists and turns that lead to a finale that inspires a deeper dive to explore the hints of a dark, sinister conspiracy. Sure, making fun of that old 90s PBS saccharine slob is an easy target, but there are enough scares, shocks, and gags (in every sense) to warrant a big warm cinema hug for our new movie pal BUDDY. Just remember to smile and do what he says…or else.

3 out of 4

BUDDY is now playing exclusively in theatres

COYOTE VS. ACME – Review

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The summer cinema season (un)officially ends this weekend, not with a whimper, but with a bang. And a boom. And a crash. And a “Meep, meep”. Yes, at last, it’s the movie that a certain studio (hint: rhymes with “Barner Wothers”) could not kill, though they really, “weallee twied…huhuhuh!”. Now, this was supposed to have been a release for the Summer of 2023, but a funny thing happened on the way to the multiplex (As Mr. Kimball would say on “Green Acres”, ” Not funny ha ha, but more funny-weird and sad”). So, did it take a wrong “toin” at Albuquerque? Nope, the studio “suits” didn’t think it had an audience, so it would have more value banished to a vault, never to see the light of day, as a “tax write-off”. Well, I’m hoping that fans of classic comedies and cartoons will prove them wrong and reward the fine folks at Ketchup Entertainment (who also saved THE DAY THE EARTH BLEW UP: A LOONEY TUNES MOVIE) by seeing, in a theatre, COYOTE VS. ACME (cue “The Merry-Go-Round Broke Down, Mr. Stalling).

The story starts way back in 1992, late at night inside the massive Acme factory. One of its research and development scientists (a familiar face for Golden Age film fans) is trying to expose a nefarious scheme by his employers. Sadly, his cover is “blown”. Jump to now, where it’s (funny) business as usual on the almost-deserted desert roads in New Mexico. Wile E. Coyote is trying, and failing, to catch that lightning-fast Road Runner with gadgets from, yup, the Acme catalog. The battered and hungry critter retreats to his cave and tosses the new device onto a huge pile of useless products. As he concocts a new “bird trap”, something on TV captures Wile’s attention. It’s a commercial for the law firm of Avery, Jones, and Maltese (IYKYK), who specialize in cartoon-related mishaps, promising compensation for all manner of defective gizmos. The blueprint is shelved as Wile embarks on a journey to, of course, Albuquerque. There, Kevin Avery (Will Forte) shuffles into the law office, well past noon. His passion is gone, despite the prodding of his eager, ambitious intern/niece Page (Lana Condor). Their principal clientele is indeed cartoons that want compensation from Acme. But burnt-out Kev is a “settler”, preferring to settle for peanuts ($200 or so), rather than go to court. However, the Coyote strolls in and “upends” everything. He brings his magic “bottomless” bag full of hundreds of failed Acme stuff, and tricks one of the staffers into registering all of them in the lawsuit. Kevin is more than a bit annoyed, since the “swag” ups the suit to thousands of bucks. He’ll honor his “unhinged” client by heading to the Acme offices and asking for a bigger-than-usual payout. In the company’s conference room, Kevin’s rival, Acme’s hotshot “mouthpiece,” Buddy Crane (John Cena), presents a fairly generous settlement form. But instead of signing it and collecting a big check, Wile rips it to shreds. The trial is on. As Kevin and Paige prep for its start, they stumble upon a vast dark conspiracy, making them a target for the mega corporation’s CEO, Foghorn Leghorn, and his “fixers” (“wed” by a “widdle” “yewoah” birdie). And, “that’s not all folks!”…

Not to diminish the animated icons involved, but I’ll first discuss the flesh-and-blood acting ensemble. The heavy lifting is from SNL vet Forte, whose role may have the most interesting “arc”. His Kevin is just “going through the motions’ in his life, always opting for the less-challenging route. Forte’s almost a “humanized” yawn or a lurching hangover, But then he’s revived, much to his dismay, and jolted by this “desert mongrel”. This gives Forte a chance to shine, going from bewildered snark to a gradual quest for new purpose. This may be his best feature performance since NEBRASKA, though he was also terrific as TV’s “The Last Man on Earth”. Not having streamed any of her “To All the Boys..,” shows, I was unfamiliar with Ms. Condor, who is impressive as the naive go-getter Paige. She’s a terrific irritant to Forte’s Kevin, but we see that she’s not a “goody-two-shoes” when the threats from the Acme goons excite her (“a danger rush”). They’re an engaging team. After so many “nice guy” roles (well, the Peacemaker’s not that upstanding), it’s refreshing to see Cena as an all-out baddie. He makes Buddy the ultimate bolo-wearing, blustering fratboy bully (aw, don’t hoit da’ boid’!). He has an excellent toadie sidekick in P.J. Byrne (he’s almost part ‘toon as he just bounces back for more abuse). The best “deadpan” performances come from the near-stoic Martha Kelly as Kevin’s partner, the off-kilter Dottie, and Luis Guzmán as Judge Troppogrosso, who will not put up with any of these wacky shenanigans in his courtroom. As for the “non-fleshies”, the uber-talented Eric Bauza is a marvel as most of the Looney legends (check out the recent HBO shorts he voiced), while Candy Milo handles most of the lady Looneys and Jim Cummings provides great grunts and slobbers for a real “devilish” delight.

It appears that the third time feature-directing is the “charm” for David Green, who deftly navigates the chaos created from the script crafted by Samy Burch, Jeremy Slater, and James Gunn (yes, Mr. DC Studios) adapted from the 1990 New Yorker article by Ian Frazier. Happily, it is an adoring love letter to those geniuses who toiled away in the old “Termite Terrace” creating those enduring seven-minute masterpieces. Many scenes can barely contain the “eye candy” as so many supporting and “one-shot” characters dot about (blink, and you may miss a quickie cameo by an MGM star). Though I had lots of praise for 2022’s CHIP ‘N DALE: RESCUE RANGERS satiric retooling, this film is even closer in spirit to the sublime WHO FRAMED ROGER RABBIT (now 38 years old..”paleeze”). But this time around, the “toons” aren’t “second-class” citizens that must stay in the “Toontown ghetto”. They live and work right alongside us. As for their “look”, the animators have recreated and revived them with loving care, emulating all those classic creators (mostly Clampett and Jones homages). And unlike those SPACE JAM flicks, they’re not “over-rendered” with every strand of hair or fur delineated. It’s that classic 2-D “cell” outline with a subtle shadow overtone. The highlight being the lead toon, whose delightfully detailed body language (and a “limited number of signs”) evokes the classic silent film comedy stars. That “varmit” also creates a couple of wonderful “Rube Goldberg” inspired inventions (oh BTW, you really should check out the children’s book series inspired by Rube, lavishly illustrated by the award-winning Ed Steckley; we now return to our regularly scheduled review, already in progress…) We always know the moods of the “plantiff”. Still. I don’t wish to take away from the human cast who greatly aid in making the cartoon feel “real” (Bob Hoskins would be pleased). My only complaint is some listless CGI crowd characters (what’s with the lil’ brown duckie near the end) and the “vewy” mediocre rendition of one of the few human-like cartoon icons. Yes, the laughs are frequent, but though it might seem a cliché, this really has “heart” as Kevin learns to care and the whole WEC/RR dynamic is explored and almost explained (it’s a real relationship). Many moviegoers may go due to the whole “forbidden fruit” trope (“Nobody’s gonna’ say I can’t see somethin’!”), but they’ll also be rewarded by the surprising acting, artistry, and ideas that abound in the “escaped entertainment” of COYOTE VS. ACME. Court dismissed, or as a pantless pig would say, “That’s all folks!!”

3.5 Out of 4

COYOTE VS. ACME is now playing (finally) in theatres everywhere

THE MAGIC FARAWAY TREE – Review

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Oh, sure, Labor Day is just a couple of weeks away, and most kids are already back in school. However, that doesn’t mean that there can’t be a few new family-friendly flicks opening at the multiplex this weekend. Now, I’d say that next week’s big movie is truly “all-ages”, though this one opening today is really aimed at the grade-schoolers. Unlike the recent sequels and “game IP” like the Marios, here’s a feature with literary roots, proving that the big-screen adaptations aren’t limited to Seuss and C.S. Lewis. Here’s a tale taken from a book series that started way back in 1939. Not to worry, this is very much set in the modern world. It explores how some 21st-century tech-savvy pre-teens might react after encountering THE MAGIC FARAWAY TREE.

This is the tale of the Thompsons. The family of five is led by dreamy stay-at-home papa Tim (Andrew Garfield) and inventor/breadwinner mama Polly (Claire Foy). They’re a bit flustered that their three kids are too attached to their “devices” and “screens”. Despite the protests of Tim, his dinnertime pasta dishes are ignored by eldest daughter Beth (Delilah Bennett-Cardy), son Joe (Phoenix Laroche) donning a VR visor for gaming, and concerningly quiet youngest daughter Fran (Billie Gadsdon). The meal ends as Polly returns home from work and drops a “bombshell”. She quit her appliance designer job over the company’s “spyware” being installed on her creations (a fridge that records your eating habits). And since her company owns the flat where they reside, a new home must be found. But Tim has a plan. They’ll get an old farmhouse near where he grew up, far away in the countryside, where he can harvest tomatoes for his special sauce. The kids aren’t keen on it, of course. But as they hike from the train station to their new abode, Fran sees an odd purse near the trail. Spotting something moving in the foliage, she holds it out, and the purse is snatched away…by something. Actually, the purse belongs to a fairy named Silky (Nicola Coughlan). That night, she leaves a note in Fran’s room. It’s an invite to visit her at the “Magic Faraway Tree” out in the woods. With her parents occupied with rehabbing the place (no electricity), Fran walks to the location and is greeted by Silky and her unusual pals, Moonface (Nonso Anozie), the Saucepan Man (Dustin Demri-Burns), and the washerwoman Dame Washalot (Jessica Gunning). Aside from her laundry chores, she also sends the group away to other strange realms like the “Land of Sweets”. the “Land of Birthdays”, and the ” Land of Spells”. Eventually, Fran’s siblings join her. It’s all fun and laughs until an impulsive wish wreaks havoc on the family’s new life. Can the magic of that tree somehow right this wrong and provide a “happily ever after”?


Anchoring this large, diverse cast are the two heads of the family, though they stay close to the new home rather than embark on the fantasy travels and travails. Garfield’s Tim is the optimistic, “glass half-full” go-getter, following his dream. As his partner and main cheerleader, Foy is a bit more grounded as she engulfs her offspring in the bracing warmth of maternal love. As those not-so-wee ones, Gadson’s Fran is the soft-spoken, nearly silent, adventuring explorer, ready to give in to the wonder. At the other end of the spectrum is Bennett-Cardy as the often abrasive and brash Beth, the sneering, snarky “squeaky wheel”, while Laroche’s Joe “goes with the flow” as he discovers thrills without tech. The other main “human” is the terrific Jennifer Saunders as their Gramma, who just wants the Thompsons to give up on this rural nonsense and return to the “rat race” of London. Magic and myth are well represented by Couglan as the sweet, ethereal Silky, eager to guide her new friends. Anozie’s Moonface is all royal, oblivious bluster, while Demri-Burns is quite funny and absurd as the “mis-hearing” cookware-clad sidekick. Rounding out the ensemble are plenty of delightful English legends; there’s even a “Python”, with winning “bits” from Michael Dapaah as the “goodie policeman’ (“Dun’ be greeedy!!”) and Marc Heap as the irritated and bombastic Mr. Oom Boom Boom. Perhaps the biggest villain, not counting the Beth/Gramma “tag team,” is Rebecca Ferguson who appears to be having a blast as the sour, ill-tempered horrible headmistress Dame Snap.


As I mentioned earlier, this is adapted from a celebrated book series by author Enid Blyton. Bringing it to life are director Ben Gregor and screenwriter Simon Farnaby (he worked on two of the great Paddington films). The latter does “double-duty” as the farm’s daffy caretaker (“I got wify’!”). They keep the story rolling along briskly from the “real world” to the wonder-filled lands. Kudos to the art departments for their creativity and imagination, especially on the rainbow roller-disco “Birthday” backdrops. This story is indeed filled with “wide-eyed” whimsy, but other than a dark turn with Dama Snap, it’s fairly benign and toothless, which can make the overly sweet segments treacly and far too tame. It’s a great “first movie theatre” experience for the “pre K” moppets, but for a fable railing against the onslaught of tech, TOY STORY 5 has more bite (or byte) and inspired satire. The photography gives the Farm a nice golden glow, along with a shiny fairytale focus for the interior tree and the destinations. There are some good “messages” expressed, but their delivery is strained by the sincere sweetness inside THE MAGIC FARAWAY TREE.

2.5 Out of 5

THE MAGIC FARAWAY TREE is now playing in select theatres

MUTINY – Review

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Yes, it’s the last gasp of the Summer movie season, so let’s end it with a bang. And a boom. And a stab. And a roundhouse kick to the head. As you may have guessed, here’s one last action thriller before those cold-weather awards contenders begin to arrive at the multiplex. The star of this new movie is carrying on the action superstar era probably begun in the 1980s by Stallone and Schwarzenegger. They spawned a “cottage industry” of the genre, taken over by Chuck Norris, Steven Seagal, and Jean-Claude Van Damme, along with the Asian imports, Jackie Chan and Jet Li. So who’s been toiling away with modest-budgeted “flyin’ fists” flicks? Why, it’s that Brit-born Jason Statham, who is indeed “back in action”, this time on the high seas (minus MEG) in MUTINY.

The story begins with a brief “fast forward”, then backtracks to introduce Cole Reed (Statham), a former London “bobby” who is now the head of security for a billionaire shipping magnate, Mr, Campallo (Ramon Tikaram). On this night, he’s off to celebrate the sale of his shipping company, BK, at a party for his retirement in Bangkok. The champagne is flowing at the swanky ballroom, but Cole’s “radar” is “up” after spotting some shady guests. Before the party ends, he drives his boss home. But they never make their destination. Near the docks, they’re ambushed. Cole does his best, but the army of killers takes out his boss and old friend. Reed recognizes several policemen mixed with the assassins. Naturally, the news reports that he’s the prime suspect in the murder. But Cole lifts the ID of one of the fallen bad guys and discovers that he’s a BK ship worker. Meanwhile, a former sailor named Angie (Annabelle Wallis) is called in to work as security on the BK cargo ship, the Artemis. As she prepares to cut short her shore leave (and reunion with her daughter), Reed hatches a plan to find out who is behind the fatal attack. Using the dead man’s ID, he boards the Artemis, captained by the imposing Madsen (Roland Moller). As Cole sneaks around the shipping containers, he discovers some startling “contraband”: sick, scared stowaways. Can he thwart these human traffickers while unlocking the conspiracy behind his pal’s murder, and eventually clear his name? Despite an unexpected ally, this is no “pleasure cruise”.

Much like his stoic fighting machine men of so many previous films, Statham isn’t flexing his dramatic “chops” on this one. Cole could easily be THE BEEKEEPER (sequel’s on its way) or A WORKING MAN seeking SHELTER. We get a sense of his grief over a past family tragedy before he gets down to “business”. That stoic stare is still fearsome, even as he tries to quickly make a plan to merely survive the night. He’s still a compelling screen presence, though I’d love to see him skewer this role as he did deftly in SPY. He’s got a great rapport with his co-star, Ms. Wallis, who has her own complicated backstory (single mother challenges), while she conveys a similar strength in battle. Moller has his own scary stare as the surly ship’s captain who might be up to the challenge of going “mano y mano” with this skilled stowaway. Kudos also to Adrian Lester as the military man who may just be our heroes’ best hope and salvation.

The masterminds behind the nautical mayhem are director Jean-Francois Richet and screenwriters J.P. Davis and Lindsey Michel. That last duo provides the barest of backstory before giving action fans just what they want. Ditto for Richet, who helms several great encounters on deck with the vast ocean as a backdrop, while all navigating the tight space below deck. The Artemis is a labyrinth with maze-like hallways where the baddies must be taken down with little room for flailing limbs. But there are plenty of corners for the heroes and foes to use. Of course, Statham displays his fightin’ feet and fists, though he also uses any tools at hand for some especially gruesome maiming ( that R-rating is so earned). At a taut 95 minutes, the dramatic ‘fat’ is at a minimum, with the tension kicking in after Cole boards the ship (speaking of 80s and 90s thrillers, I was getting lots of UNDER SIEGE vibes), Aside from the ocean setting, there’s not much variation on the Statham formula, but his many fans will certainly be enthralled and entertained during this MUTINY.

2.5 Out of 4

MUTINY is now playing in theatres everywhere

TEENAGE SEX AND DEATH AT CAMP MIASMA – Review

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How’s this for a real “major meta” movie? This new release truly has some big “retro roots”. Among the ‘reboots” and “re-imaginings” comes a surreal commentary on the horror icons of the past forty-plus years (no Drac or Frankie-types lurking about). So, much like 2024’s I SAW THE TV GLOW, this is a contemporary spin on pop-culture nostalgia and its impact on a couple of “lost souls”. While the focus then was a kid-friendly horror-fantasy cable classic, this new flick dives into the “slasher” classics. And yes, it’s by the same filmmaker. They’ve got a unique spin on those tropes while exploring TEENAGE SEX AND DEATH AT CAMP MIASMA. And don’t forget the s’mores…

The movie opens with a jaunty history of the “Camp Miasma” franchise with its signature “mad killing machine”, “Little Death”. There are the posters, the VHS tapes of all its sequels, and the “merch”: dolls and even an arcade video game. Show biz trade newspapers touted the franchise’s success and eventual downfall due to declining box office. But Little Death won’t stay buried. Cut to today, as indie film festival “wunderkind” director Kris Williams (Hannah Einbinder) decides to do a big studio film. She plans to “reanimate” the “zombie IP” that is the dormant Miasma series. She explains during a call to her partner that this will be a “redo” to “course correct” the “un PC” origin of the dual-gender identity of LD. Oh, and Kris wants to persuade the star of that first film to appear in this new story. However, that actress promptly retired and left the cinema life after being that classic flick’s “final girl”. Kris has tracked her down in the Pacific Northwest. It turns out that actress lives in the shuttered old kids’ camp location of Miasma. Of course, the former star, Billy Presley (Gillian Anderson), is quite eccentric. Surprisingly, the two bond quickly while watching an old 16 mm print of the first Camp film. Due to a snowstorm, Billy implores Kris to stay in a guest room while they work on the new script over the weekend. An intense attraction blossoms between the two, while Kris slowly discovers that everything she saw in those movies could somehow be real.

After completing her outstanding work on the acclaimed HBO show “Hacks”, Einbinder gets a chance to carry a feature film as the confused and conflicted Kris. She’s the ultimate horror “superfan” who wants to revive those thrills from childhood while dealing with complex relationship issues (she’s polyamorous, but her desires aren’t met), as she is drawn to her shadowy “dream lover”. As the object of Kris’ darkest dreams, Anderson is compelling and enigmatic as the sultry siren revisiting a twisted, nostalgic journey. Though Billy could easily be shown as a silly “Tinsel Town” reject (a mix of Norma Desmond and Baby Jane Hudson), Anderson draws us in as part of the overall mystery of the camp (like Laura Palmer, she has “secrets”). The cast showcases several great character actors. SNL’s Sarah Sherman is a hoot as Kris’ agent who seems to care more about her squash games. Dylan Baker is an irritated studio chief, while Kevin McDonald, Eva Victor, Zach Cherry, and Patrick Fischler pop up as part of the original Miasma ensemble.

Writer/director Jane Schoenbrun delivers a meticulously recreated pop culture mythology around this imaginary movie series, even including a phony Fangoria magazine award (that publication even printed a cartoon by yours truly back in 1984). Those riffs are indeed fun as Kris references many actual franchises, from Jason and Freddy to the more obscure SLEEPAWAY CAMP, with its problematic gender politics. Aside from the creation of media and merch, the art direction gives the story an otherworldly dreamscape, using garish painted backdrops for several outdoor sequences at the camp. Those dreams turn to nightmares with the introduction of the movie “stalker” Little Death, whose mask is a square indoor heating/cooling vent (much like Spidey’s “V-Max”). LD usually kills with a spear, unleashing a geyser-like gusher of gore into the night sky. And while those horror parody scenes are fun, Schoenbrun uses them to dive deep into the sexual psyche of Kris and Billy, resulting in a wild finale that has us questioning what is real and what is being created via their dark fantasies of desire. The end result is quite impressive, though many viewers may be confused prior to that final fadeout. Like TV GLOW, this will spark lots of discussions and interpretation debates after the cinematic chaos of TEENAGE SEX AND DEATH AT CAMP MIASMA.

3 Out of 4

TEENAGE SEX AND DEATH AT CAMP MIASMA is now playing in select theatres

ONE NIGHT ONLY (2026) – Review

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The last gasps of the Summer movie season are increasing with the arrival of August. However, the box office is booming thanks to a hero in red and blue tights. After his phenomenal and record-breaking ticket power last weekend, Spidey can’t swing through every auditorium in the multiplex. Mind you, that epic ancient adventure is also hanging in, but there’s got to be space for a little romance, and, as they sang in the 1920’s, “makin’ whoopee”. There’s plenty of both in this weekend’s release of a “rom-com” with a futuristic satiric “twist”. So what if the “single-set” could only mix it up on one day? It’s a long evening, actually, as we follow the madcap travails of a duo over ONE NIGHT ONLY.


The story actually begins a couple of hours earlier. The opening prologue text gives us the setting. It is the not-so-distant future in the much more “straight-laced” USA. Three years previous, the feds have instituted “The Mandate”. This is a sweeping “law of the land” that prohibits the unmarried from engaging in all sexual activity except for one night, this very day, from 7 PM to 7 AM. And… they have to use “protection”. Everyone now is marked with a small tattoo (a bat, a lighthouse, etc.) on their wrist that changes from red to green, for “go at it”. We first meet “session ” singer Allie (Monica Barbaro) as she finishes up a commercial “jingle” gig prior to meeting up with her gal pal to meet a nice nighttime “hook-up”. Well, Jacinta (King Princess) hooks up early, so Allie trudges back to the NYC apartment she shares with Arja (Quintessa Swindell). She’s babysitting for some buddies, so she loans her most sparkly, revealing party dress to Allie. Meanwhile, pizza shop owner Owen (Callum Turner) is bringing in the married “night shift” so he can thoroughly “enjoy” the night with his longtime girlfriend Malika (Maya Hawke). Their early fancy dinner doesn’t go as planned when she drops a “bombshell”. She wants to spend the night with someone else, their neighbor, saying that being with others will “strengthen” their bond (um…yeah). So he can’t return to their building. He embarks on a frantic search that appears successful with a sultry bartender, until it seems that no condoms are to be had anywhere. Eventually he has a “meet gross” with Allie, and they soon end up vying for the city’s last bit of latex. That’s just the start of their odyssey through the wee hours as they continue to cross paths. Could the universe be telling them something, or is it just bad, dumb luck? And the clock clicks down to dawn…

The biggest casting surprise here may be the versatile and very photogenic Ms. Barbaro, who was a superb Joan Baez in the Dylan biopic a couple of years ago. Happily, we get another treat from her polished “pipes” in two sequences. She combines those skills with a deft comic touch while still giving Allie a determined “edge” and an endearing charm, even as she nearly pops out of that teeny-tiny “almost” dress. Of course, it helps that she has formidable chemistry with the affable Turner, who is given better material than in his last foray into fantasy rom-coms in last year’s ETERNITY. He immediately has us rooting for Owen as his plans for romance blow up in his face when he is “blindsided” by his “bae” (Ms. Hawke continues to impress, even with this most unsympathetic character). Turner tempers his “action hero” physique with a snarky “wiseguy” everyman vibe. But this dynamic duo doesn’t provide all the laughs, as the flick is peppered with comic vets and newcomers. Owen’s no-filter mother is the iconic Molly Ringwald, who is paired with another 1980s fave, LeVar Burton, as her frisky paramour. Yes, there are lots of “hey, that’s…” moments that I’ll refrain from spoiling, but I’ll single out two big “scene-stealers”. As Allie’s pop music superstar “dream”, Ezra Stone, Charlie Gillespie composes a memorably awkward “love song” (this horny dimwit wants you to remember, it’s not a duet), while Mateo Ray charms as Arja’s ‘charge” Troy, who so wants to be a “playa'” during this long wild evening.


Helming this carnal chaos is movie comedy vet Will Gluck, who last gave us the silly star-fueled rom-com ANYONE BUT YOU (a big surprise hit), though I’m more of a fan of EASY A (and he inexplicably made the 2014 ANNIE and the PETER RABBIT kid-flicks). He keeps the pace flowing as he emulates AFTER HOURS (boy, that movie is so influential), occasionally pulling on the heartstrings just before a nice bit of slapstick (gotta’ get that “glove”). Now, he doesn’t “soft pedal” the political satire in this, as “The Mandate” is mocked in several TV news segments. Perhaps this is the “hook” that put this script from Travis Braun on the 2024 screenplay “Black List”, though it might just have been the concept of a sex-mad riff on THE PURGE (more filthy fun and a lot less gore). Sure, we are hoping that Allie and Owen finally “hook up”, but this trip has lots of unexpected detours and side tracks, with a final stop that doesn’t feel contrived. Even though it’s hard to fathom that these two cross paths in the Big Apple (the location work is stellar, making the city as much a character as with Spidey) so often in this twelve-hour fornicating frenzy. Certainly, its 100-plus minutes needed a good trimming (ten off the “top”), but those filmgoers into some really raunchy R-rated (a deserving rating) ribaldry should find plenty during this ONE NIGHT ONLY.

3 Out of 4

ONE NIGHT ONLY is now playing exclusively in theatres

SPIDER-MAN: BRAND NEW DAY – Review

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As we trudge past the miserable heat of July, many movie fans might think that the Summer season of blockbusters is over with the arrival of August. And they would be wrong. Just as it appeared that TOY STORY 5 would be crowned box office king of 2026, film franchise royalty returns after a five-year hiatus. Ah, but with his comic book roots, will the media pundits crying “superhero fatigue” be proven right, especially after SUPERGIRL failed to take flight? Well, from the internet buzz and the spectacular ticket presales, it looks like this scrappy wallcrawler has many more “webs to spin”. But with a new director guiding that trilogy’s trio, his many fans are bracing for a different era in SPIDER-MAN: BRAND NEW DAY.

Here’s the cover to a paperback prose story with the then CBS TV stars back in the late 70’s!

Yes, a new, more subdued tone is established in the opening moments of this installment. The spell cast by Dr. Strange in the previous film hasn’t weakened. The world has forgotten Peter Parker (Tom Holland), who is now living on his own. When he’s not working as Spider-Man with his NYPD connection (unofficially), Det. Jean DeWolff (Liza Colon-Zayas), Pete is following the constant online video updates (all through MIT) of former BFF Ned Leeds (Jacob Batalon), with cameos from his roommate pal, MJ (Zendaya). And yes, Pete’s still carrying a “torch” for his lost love. Which is why he’s spending so much of his time as the Big Apple’s protector. Naturally, things get very weird when a super-villain he helped put away, Mac Gargan AKA the Scorpion (Michael Mando), is sprung from the fortress run by the feds at the Dept. of Damage Control by a mysterious mind-controlling force that jumps from one person to another, after a janitor commandeers a tank. Complicating things is the unwanted “help” from NYC’s other, less-adored vigilante, Frank Castle AKA the Punisher (Jon Bernthal). After a briefing by DODC chief Bill Metzger (Tramell Tillman), Pete runs into Ned as he grabs some supplies for his big housewarming party. Following him, Pete crashes the party and sees MJ there with her new beau. Later that night at his home, he seems ill and faints. The next morning, Pete wakes up in a web cocoon, outside his window. Something’s happening with his body and mind. Could his spider-enhanced DNA be mutating? A visit with celebrated ESU prof Bruce Banner (Mark Ruffalo) just raises more questions. Can Peter survive this “metamorphosis “, while stopping this new menace that appears to emanate from a shadowy young woman (Sadie Sink)? And will he find a way to reunite with his old friends turned puzzled strangers?

Despite the large, impressive supporting cast, this story belongs to Holland’s maturing Peter Parker and his arachnid alter-ego. Here he expands on his dramatic talents, going even further into pathos from the last entry. Though a lot less awkward (somehow more confident in uniform), Holland leans into the tragic consequences of his fateful, mind- and world-altering, though selfless, decisions. And that’s coupled with his panic over the strange alterations in his mind and body. Certainly, Holland is more than up to the challenge, despite having played the role for ten years over six movies. His “heavy-lifting” emoting is done with his leading lady, now real-life wife Zendaya, whose MJ still has a snarky, dark attitude, but has learned how to let people “in”. Her big “revelation” scene with Holland is a heart-tugging highlight. Their rapport is balanced by the sweet-natured charm of Batalon, who somehow becomes more enduring, even as his Ned becomes “Spidey-obsessed” (love his “tracker”). If there’s a “scene-stealer” in this flick, the title would belong to Bernthal, who brings a lot of heart to the world-weary, cynical Castle, a role he’s honed over several streaming TV shows. This “flip-side” spin on crime-fighters is a welcome addition to the story. And it’s great to see Holland finally sharing some scenes with Ruffalo, whose Banner is an easy-going, affable academic and another mentor ala Tony Stark. Sink is somehow sinister and sympathetic as the villain that’s more than her sometimes “evil deeds”. Speaking of mentors, Colon-Zayas is another nurturing maternal influence on Pete, and a great partner, much like Inspector Henderson on the 50’s Superman TV show. And I don’t want to spoil it, but the film also has great sequences with two wonderful actresses, one that figures in the MCU future, while the other is a sweet return from a past fave.

Here’s the Spidey story that introduced the Punisher!

So who has replaced Jon Watts after his time as director of the previous trilogy? None other than Destin Daniel Cretton. After helming the Shang-Chi feature (which should’ve had a sequel years ago) and the superb streaming show “Wonder Man”, Cretton injects quite a bit of real-world grit and a streetwise style (truly “friendly neighborhood”) into the Spidey saga. Although two of the main series screenwriters, Chris McKenna and Erik Sommers, penned this one, it eschews much of their bouncy, whimsical sensibilities. This helps in setting it apart from high school romps and shenanigans, with the main trio mulling over their place as adults in this grounded setting. Aiding in this is the moody camera work from Brett Pawlak, which still meshes with the soaring music score by the returning Michael Giacchino. There’s no rehashing done, although there are some nice nods to MCU history and the memories of Pete and his pals. This helps in getting past a few wonky subplots (without Stark, how is all that tech acquired?). All the effects (love the “zombie pulse waves”) work well, especially with the thrilling action scenes (this Hulk truly smashes). With so much to enjoy, the final act doesn’t wrap things up in a satisfying manner, with no real “sign-off” with a major character. But fans will enjoy seeing Spidey with two other comic stalwarts (three really), and the tykes will get to see their hero in dazzling action with some of the best “city swinging”, though there are some dark, scary moments. It doesn’t quite “stick the landing”, but there’s lots of what makes the “web-head” endure for over 60 years (lots of “mushy stuff” in the Stan Lee-penned tales) in the exciting and often amazing SPIDER-MAN: BRAND NEW DAY.

3.5 Out of 4

SPIDER-MAN: BRAND NEW DAY opens in theatres everywhere on Friday, July 31, 2026.

THE DINK – Review

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As World Cup FIFA fever cools off, while Major League baseball continues to simmer in the hot July sun, some fans may want to get their sports movie fix at the multiplex. Or better yet, on their big-screen TVs on a streaming app. Looks like Apple TV has just the ticket (without having to purchase a physical one). But no, this comedy isn’t in the world of soccer (yeah, football) or America’s pastime. You see, this activity is still pretty new, but it’s catching on. And it’s as addictive as the food in its name to many. It’s pickleball, though the title comes from that “hybrid’s glossary”, a soft “tap” called THE DINK.

Now, by “hybrid”, I’m referring to PB’s roots in another sport: tennis. This story begins with a young prodigy of that game, Dustin Boyd. We see him as a toddler, guided by his tennis pro pop, Chuck. As Dustin enters his teen years, his skills and ego expand, becoming known as “The Hammer”. But an agonizing defeat from a real-life “king of the court” quickly sends him into a downward spiral. Cut to now, as the almost middle-aged Dustin (Jake Johnson) works as a “pro” at his father’s (Ed Harris) ritzy tennis club. Tightening his “old school” headband, Dusty regales bored teens with tales of his former glory, while his adoring assistant PJ (Aaron Chen) delights with every word. All would be okay if not for the elders playing pickleball on a run-down court. In Chuck’s office, the PB liaison Skip (Patton Oswald) pleads for an extension to the club in order to offer more courts. Ah ha! Citing an obscure entry in the club’s handbook, Chuck tells Skip that this can be resolved in a “duel”, his best player against the PB champ. If Skip’s player wins, the expansion happens. If not, the pickleballers will vacate. Chuck holds a tryout (much to Dusty’s chagrin), and his son is victorious…until the ending jump over the net. Dusty busts up his wrist again…and he’s out of the match. And what does his doctor (Ben Stiller) prescribe? The dreaded pickleball. When Dusty goes to a big PB park, he encounters a trio of mature ladies. For a doubles game, he’s paired with the lovely divorcee Candace (Mary Steenburgen). The two squabble at first, then gradually a friendship begins. But could they “pair up” off the court? And does Dusty’s loyalty belong to tennis, and his pop, or will he join forces with this squad of scrappy seniors?

In his first leading film role since 2023’s SELF RELIANCE, Johnson channels his inner “man child” to make the often churlish, self-aggrandizing Dusty somewhat endearing. His boiling frustration is slowly tempered as Johnson delivers a convincing “character arc” when the “vets” inspire him to finally “grow up” ( and “grow a pair”). And unlike “The Hammer”, Jake’s a generous acting partner, particularly with the ever-radiant Ms. Steenburgen. She deftly mixes a cynical toughness with an aching vulnerability, especially as she contends with a dour ex-hubby. Happily, this Oscar-winner’s exchanges with Johnson crackle. Another screen stalwart, Harris, is the ultimate, hard-nosed “bad dad” who almost delights in slamming his “failed champ’ of a son. They all carry the emotional weight of the story, while the off-kilter, hysterical Chen expertly steals almost every scene with his strange comic timing. His PJ is a clueless goof with a heart of gold, despite a truly odd “kink”, reminding us of the old adage “whatever floats your boat”. Oswald is in full “dweeb” mode as the twitchy Skip, who won’t be verbally bullied by the dismissive Chuck. A couple of SNL vets have cameos: Chris Parnell as a club rival, and Chloe Fineman (who just exited the show) as Dusty’s conniving ex-girlfriend. The real tennis world is represented by iconic “racket-men” John McEnroe and Andy Roddick. Adding some sentiment are Candace’s pickleball sisters, Cleo King as the uninhibited Gail and Judy, played by the “queen of Pee Wee’s Playhouse”, yes, Miss Yvonne herself, the late Lynne Marie Stewart, in her final film performance.

Considering how much I enjoyed the director’s BARB AND STAR GO TO VISTA DEL MAR (just the silliness I needed during the “lockdown”) and the touching doc WILL AND HARPER, I had high hopes for the latest work from Josh Greenbaum. I did chuckle frequently, but it all seemed too familiar, with a tone reminiscent of the many sports comedies of Will Ferrell, who actually has a new Netflix sports-comedy series, “The Hawk”, set in the world of pro golf. Dusty’s another “child-man” confronting his past while trying to change his attitude and his career trajectory. And learning to care about others. Now, there’s what frustrated me. At around the midway point, the story seems to shift into a most unconventional (certainly for Hollywood) romance (the ole’ “May/December”). And then… the filmmakers “chickened out” in order to return to a “tried and true” finale/showdown. Maybe it didn’t “test well” or perhaps the “suits” nixed it, but this certainly derailed the plot’s welcomed detour. But the cast certainly has honed their “comedy chops” (looking forward to more of Mr. Chen), so their fans should find fun on the courts, although a bravado “love match” would have put me over “the line” and away from the “kitchen” (PB terms) with THE DINK.


2 Out of 4

THE DINK streams exclusively on Apple TV beginning on Friday, July 24, 2026

GAIL DAUGHTRY AND THE CELEBRITY SEX PASS – Review

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A week or so after all the well-deserved celebrations for the centennial of EGOT legend (my fave, BTW) Mel Brooks (one hundred years of him…hurrah, hooray), I was wondering where the comedies are in this cinema Summer season. Sure, there have been lots of funny moments, especially from the toys and the Minions, but nothing like the past warm weather visits from ZAZ (Abrahams and the Zuckers behind AIRPLANE!) or the Farrelly Brothers (THERE’S SOMETHING ABOUT MARY). Of the recent funny flick helmers, Judd Apatow’s streaming stuff, while Paul Feig serves up pulpy suburban thrillers like THE HOUSEMAID. True, we’ve gotten a JACKASS, though many consider it a doc and a reboot of SCARY MOVIE. Well, this weekend gives us two comedies that strive for two different “S words”. “Sophisticated” suits the very provocative THE INVITE, while “silly” best describes GAIL DAUGHTRY AND THE CELEBRITY SEX PASS. And with all these turbulent times, we can use a big helping of the latter…

This sophomoric saga is instigated by Frank (Fred Melamed), the friendly mailman walking the pleasant, picture-perfect streets of a Kansas suburb. On his route is a perky hair stylist named Gail Daughtry (Zoey Deutch) who is weeks away from marrying her high school sweetheart, Tom (Michael Cassidy). Her best work pal, Otto (Miles Guiterrez-Riley), is also looking forward to a “beauty professionals” convention in fabulous LA. The raunchy salon gossip turns to the “celebrity sex pass”. Otto explains it to the confused Gail. Couples agree that each can have one agreed-upon celebrity “pass” for “guilt-free” intercourse. She laughs it off when Otto suggests that she join him so that she can “cash hers in” with her TV crush, Jon Hamm. Later, Gail brings it up with Tom as they take in a book signing by a big TV and film star (I won’t spoil it). On an impulse, Tom had named her, so… he does “cash in”. An angry and upset Gail then tells Otto that she’s changed her mind. She’ll join him in “La La Land” for the convention and a hot, steamy slice of Hamm. But things get complicated upon their arrival when her case of brushes gets switched with a case of top-secret papers meant for an ill-tempered, impatient mobster queen named Ludovica (Sabrina Impacciatore). As Gail enlists the aid of an unlikely, motley “posse”, Otto, a frustrated “paparazzo named Vincent (Ken Marino), Caleb (Ben Wang), an eager ex-CCA intern/agent, and “Mad Men” co-star John Slattery, two “enforcers”, Sergio (Joe LoTruglio) and Niccolo (Mather Zickel) are hot on her trail for that case. Will they “whack ” her before she gets wild with the former but forever “Don Draper”? Only in Hollywood (and the movies)…

A most impressive comedic cast truly “goes for broke’ in every role, even the smallest. Ah, but the lead is the title heroine Gail herself played with pluck and energy to spare (I was reminded of the classic Ed Asner/Lou Grant line, “I hate spunk!!”) by the adorable Ms. Duetch. Far from being the cliche small town “prude”, Duetch gives her an open spirit, eager to experience all (yup) of life’s pleasures. Her “partner-in-crime” (chaos, really) is the equally curious (about everything “bi”) Otto, who’s given a perfect “best pal/ not quite straight man” tone by Guiterrez-Riley. He’s the leader of “Team Gail’ overseeing Wang as a bold “child man” (he’s always talking about “Mommy”). Marino as the “seen it all”, jaded photog Vincent (chuckling at these “rubes”) and Slattery in an inspired bit of self-mockery, riffing on his “second-tier” star status. Oh, that big star, Mr. Hamm, again exudes pure comic charisma, parodying his leading man looks with a buffoonish, bawdy bravado. His arrival late in the last act is well worth the wait, though he’s referenced throughout (Vince can’t get the pic). As I said earlier, I don’t want to spoil the delight in the other big celeb “pass”, but she also revels in skewering her fabulous fame. Melamed sets the mood of anarchy in those first moments, while LoTruglio and Zickel are spot-on on the deadly but dumb duo after the “Gail gang”. Oh, and there are also many other star cameos along with quick bits from comedy cutups (Tobie Windham as Hamm’s “muscle”) from classic TV.

Acting as the co-ordinator of the “crazies” is comedy vet David Wain, who co-wrote the script with his old partner from the cult MTV show “The State”, Marino (there are other alumni from that cable classic along with “Party On’ and “Childrens Hospital”). But Wain has been busy in features, with ROLE MODELS and THEY CAME TOGETHER, among others. Here, he’s following in the tradition of ZAZ with a barrage of gags and bits, with many hitting their target (about 65% or so), although with LA it’s the ole’ “fish in a bucket”. I’d say most of the jokes work, though some recurring bits never “kick in”, like the mob queen’s skin obsession, or Michael Ian Black’s street vendor. And the big, ultra-violent showdown with the baddies gets a bit tiresome. But then, the Hamm arrives and all in gold (or fool’s gold). Unlike the AIRPLANE team, Wain and Marino aren’t adhering to a single source script, but this story’s “inspiration” becomes obvious by the midpoint. To quote the old auto ad line, “your mileage may vary”, depending on your tolerance for the tacky, tasteless, and gloriously goofy. Well, we can use some “silly” right now, much as how my spirits were lifted by BARB AND STAR GO TO VISTA DEL MAR during the waning days of the pandemic. It isn’t Noel Coward or THE INVITE, but it’s pretty inventive, and sometimes witty (much like “The Studio”). So, offset a laughter “workout” with that sweet AC at the multiplex with GAIL DAUGHTRY AND THE CELEBRITY SEX PASS. Now, could I “pull off” a “whip-curl”?

3 out of 4 stars

GAIL DAUGHTRY AND THE CELEBRITY SEX PASS is now showing at theatres everywhere