Author: 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.

MAFIA MAMMA – Review

Hmmm, now this is a strange bit of film release synergy. Now the big studio-wide release this weekend is RENFIELD which can be called a horror/comedy hybrid (though it’s also an action thriller satire). The other small studio (an “indy”, to be sure) flick also blends comedy with another very popular genre, crime. To be more specific it’s a crime-family comedy, hence the use of that “reviled” (to some) word. Oh, and there’s a “gender-switch” as a woman takes the seat at the head of the table for the “sit-down”. Hey, if there can be a godfather, then why not a MAFIA MAMMA?

The story kicks into high gear “across the pond” in the “old country”, Italy, soon after a gun battle that produces lots of casualties for both warring factions. This prompts a long-distance phone call from the Balbano family “advisor” Bianca (Monica Bellucci) to a relative in the States, harried working mom Kristin (Toni Collette). This contributes to her stress-filled week. The male execs are hostile to her marketing ideas, she’s sending her only son off to college, and she catches her “man-child” rock star wannabe hubby Paul (Tim Daish) with a really enthusiastic “fan”. Bianca is insistent that Kristin hops on a plane to attend her grandfather’s funeral. After a bit of nudging from her lawyer pal Jenny (Sophis Nomvete), Kristin is in Italy enjoying a “meet cute” with hunky Lorenzo (Giulio Corso). It’s cut short when her new “bodyguards” rush her to the church for the memorial. And then the coffin’s processional is attacked by a hit squad from the rival Romano family. Luckily Kristin’s crew makes it back to the family villa where Bianca insists that Kristin meet with the Romano “head”, since the late elder Balbano, via a DVD will, has given his title to his only granddaughter, much to the ire of hotheaded cousin Fabrizio (Eduardo Scarpetta), who wants to run the “family business”. Kristin wants none of this, but the sooner she can broker peace, the sooner she can get with Lorenzo. This leads to a couple of attempts on her life as this unexpected “getaway” turns into a gang war that may just spill over into the States and threaten her boy. Maybe with Bianca’s consul, Kristin can bring honor to her tarnished legacy.

Over the last few decades, Toni Collette has firmly established herself as one of the most accomplished character actors in film. She commands the screen in drama and horror, but she’s had little chance to headline a comedy. The role of Kristen provides that with a great deal of slapstick and screwball. Unfortunately, she can’t make the poorly written script’s heroine work as she flits about like a frenzied teen in much of the first hour, popping her eyes wildly and gesturing frantically and sounding like a manic “figgerygibbit”. Kristin is more of a comedy construct than a believable mature career woman as she spews out the wrong thing in every setting, funerals, gunbattles, dates, wherever. As a grounded counterpart, Bellucci exudes a sultry earthy sexiness recalling Sophia and Gina, though she only pops in to put Kristin on the right track. Nomvete is the sassy rom-com stereotype there to push Kristin to “Go, gurlfriend!!”, and brings some needed energy. Daish is the dim hubby dragging Kristin down making it easier for her to “hook up” with Corso amongst others. And Scarpetta struts and swaggers as the always aggressive Fabrizio, who just loves to scream in his enemy’s faces during the showdowns.

Wow, this is a long way from the “sparkly” teen vamps of TWILIGHT. Yes, it’s the same Catherine Hardwicke, who’s trying her hand at screwball saucy comedy. And due to the lackluster, meandering script, it’s a “swing and a miss”. Mind you, it’s not that the “genre mash-up” doesn’t work. Way back in 1935 Edward G Robinson had some fun with his gangster persona in A SLIGHT CASE OF MURDER. And in the post-GODFATHER (Kristin’s never watched it…hilarious) it’s worked with MARRIED TO THE MOB and the ANALYZE flicks, but this strained farce isn’t even up to the level of 1998’s MAFIA! (from part of the ZAZ team). The story never seems to follow through on anything, as it tosses out different motivations and agendas. It veers into the area of a “woman’s awakening” as the put-upon Kristin finds her “calling” in the vineyard (yes, she stomps grapes ala Lucy) and then funnels low-cost meds for seniors (really). And though much of the shootouts are bloodless (lots of grazing), there’s a very graphic set piece where Kristin is threatened with sexual assaults before a Tarantino-esque gorefest with lots of eye trauma (and do we need to see a barfed-on cell phone). Plus there is a suggested blossoming romance between the female leads that is tossed aside (perhaps that’s why all the men, aside from Kristin’s son, are dullards or braying bullies). Maybe it’s just a way to reveal Bianca’s silly secret to be exploited in the big last act face-off. Sure, the locations are gorgeous, and the food looks delicious, but it doesn’t soften the sound of the jokes falling flat on those ancient cobblestones. Collette and Bellucci are deserving of a much better screen pairing. With apologies to Abba, MAFIA MAMMA, oh mamma mia! Or as the characters respond to an enemy’s name in unison in a lousy running (literal) gag: ptewy!!

One Half Out of Four

MAFIA MAMMA is now playing in select theatres

AIR – Review

Matt Damon as Sonny Vaccaro and Viola Davis as Deloris Jordan in AIR Photo: COURTESY OF AMAZON STUDIOS © AMAZON CONTENT SERVICES LLC

Wow, the last few weeks at the multiplex could almost be summed up in a slight twist on the title of the signature tune of the movie’s most popular singing cowboy, “We’re Back in the 80s Again”. Who’d have thought that the “go-go” decade would be such fertile ground for current filmmakers? Now, there was music with SPINNING GOLD (though much of it covers the late 70s), and the toy/game trifecta of D&D, the Mario Bros., and TETRIS. Well, this new release concerns a big fashion item, though it has similar themes to that last film. Like that story, its main focus isn’t the “product”, but the hustling guy (like Henk) who will risk everything for a “piece of the pie” (as in that 80s TV sitcom). So, here’s an “inspired by true events” modern fable of an “average Joe” whose big dreams could, at any second, evaporate into thin AIR.

The “Joe” in question is actually nicknamed Sonny, Sonny Vaccaro (Matt Damon), who is the high school basketball scout for Nike in 1984. This was the era of the big athlete star endorsement “war” in the footwear industry. At that time Nike, headquartered in Washington state, was a force in running shoes, but lagged far behind Converse and Addidas in basketball shoes (barely in the double-digit market share). Back at “home base”, Sonny attends a frustrating strategy meeting led by frazzled marketing director Rob Strasser (Jason Bateman). With the top 4 NBA future stars scooped up, the remaining prospects are bleak. Late that evening at his modest pad, Sonny pops in several VHS tapes full of college highlights which convince him that the “star of tomorrow” is Michael Jordan. He’s in that elite four, but Rob insists that Addidas has him almost locked up. Sonny then goes to former Olympic basketball coach George Raveling (Marlon Wayans) for insight into MJ, then confers with co-worker exec Howard White (Chris Tucker) for further advice. Unfortunately Sonny’s boss, Nike head Phil Knight (Ben Affleck) doesn’t share his dream and refuses to increase his quarter-million dollar signing budget. Plus MJ’s cutthroat agent David Falk (Chris Messina) jeers at their meager offer and won’t grant Nike access to his client. But then Sonny does a “Hail Mary” and travels out to North Carolina, to the Jordan home for a brief face-to-face “sit-down” with the family matriarch, Michaels’s mama Deloris (Viola Davis). When word leaks out Sonny’s Nike pals and Falk are horrified at his hubris. But it works, and the Jordans agree to a meeting in only a few days. It’s “crunch time”, so Sonny, Rob, and design leader Peter Moore (Matthew Maher) make Nike HQ their weekend home to create a “sales pitch” and most importantly, come up with the shoe that will bear the superstar’s name, the Air Jordan. But will all their hours of sweat be for naught after the shoe giants meet with the family?

Add Sonny to the growing list of affable movie everymen played with charm and charisma by the dependable Damon. he gets us rooting for this underdog from the start, even as we watch his “lifeforce” leave his body during a soul-draining staff meeting. His Sonny formulates his goal and Damon, despite his extra “heft” will push through every obstacle, and we’re riding by his side. And how great is it having him back sharing scenes with his BFF and Oscar-winning screenwriting partner, Affleck? It may seem like he’s not putting much into playing Mr. Nike. but Ben conveys the mogul’s spacy, often detached, Zen mantra spewing “big boss”. Still, the passion explodes, showing that Affleck can be quite intimidating if you “poke the bear”, which Sonny frequently does. But he’s an ocean of calm compared to the manic “rageaholic” unleashed by Messina as the vitriolic furious Falk. He’s a take-no-prisoners ultra-caffeinated spin on Jeremy Piven’s Ari Gold on “Entourage”. Also solid is Bateman, who tweaks his usual snarky “attitude-dude” to make Rob a real partner to Sonny, though he doesn’t hesitate in putting his pal back on the right track. The film’s real MVP is Davis as the steely head of the Jordan household and financial future. She is surprisingly friendly to Sonny but is quick to silence him when she detects a hint of BS in his bravado. The scene late in the third act, in which she phones Sonny and tells him “how it will be” is almost a master class in acting (her FENCES Oscar could be getting a sister next year). Wayans scores in a wonderful scene with Damon, while Tucker shows us that his engaging motor-mouthed persona is missed (he’s been away for seven years).

In addition to his work as the Nike head “honcho”, Affleck makes a most welcome return to the director’s chair. Sure, we all know the outcome of all the wheeling and dealing, but he is still able to wring suspense from this modern-day shoe saga. Credit must also go to screenwriter Alex Convery’s witty, sharp script that really gives each great actor a moment or two to truly “shine”.Right from the superb 80s montage, Affleck takes us back nearly 40s years with authentic fashion, vehicles, and a splendid pop soundtrack. And what a smart move to keep the great Michael a peripheral character, much like Spielberg not showing us Bruce the shark until the JAWS hunt. But perhaps it was a “nod” to classic Hollywood films that would show the president (or the holy figures in religious films) only with shots from the back or closeups of his hands. It really adds to the drama and the mythic stature of MJ and the whole legend. As I said, we know the history, but Affleck and the cast make us really care about the people. And in the era of noisy franchise blockbusters, well it’s truly a breath of fresh AIR.

3.5 Out of 4

AIR is now playing in theatres everywhere and is streaming exclusively on Amazon Prime Video

THE SUPER MARIO BROS. MOVIE – Review

(from left) Mario (Chris Pratt) and Luigi (Charlie Day) in Nintendo and Illumination’s The Super Mario Bros. Movie, directed by Aaron Horvath and Michael Jelenic.

As I mentioned in last week’s review of the big D&D flick (which topped the box office charts), the 2023 Spring season of game and toy based-movies has finally reached its biggest destination, or at least until Mattel’s “power couple” arrives. And much like last week’s trio of releases, it’s a nostalgic ‘deep dive”, going back over 40 years. Mind you this duo and their giant video game franchise hit the big screen 30 years, in live-action, and is now considered a loopy bit of campy fun. Ah, but there’s no more glued-on phony facial hair in this one because it’s all rendered in lush computer-generated animation by one of the more successful not-Pixar studios of the past couple of decades. But can they jump (and gobble and drive) from the minions to tackle THE SUPER MARIO BROS> MOVIE? And…start…


Before we get to meet the guys, we’re transported to a weird world of ice where an army of fierce fightin’ penguins meets their match in the Kupa turtle army led by the menacing, fire-breathing Bowser (voice of Jack Black). Meanwhile, back in the Big Apple, scrappy plumber bros Mario (Chris Pratt) and Luigi (Charlie Day) have opened up their own repair biz but don’t get any respect from former boss Spike ( Sebastian Maniscalco) or even their own family. And after a disastrous first gig, they’re thinking about throwing in the (very wet) towel. But then Mario sees that their neighborhood is being flooded by water rising through the sewer grates and manhole covers. It looks like the city crews can’t get a handle on it, so the boys join the fight. Unfortunately, the water sweeps them further down, below the streets, into a long-neglected sub, sub-area. That’s when a weird glowing pipe sucks in the brothers. Luigi lands in a dark scary land, near of graveyard and a nearby black castle with a lava moat. Mario drops into the Mushroom (his least favorite food) Kingdom where he meets the helpful Toad (Keegan_Michael Key), who tells him that the best way to find Luigi is to ask the land’s ruler, Princess Peach (Anya Taylor-Joy) for help. But she’s got her hands full with the news of the approaching Kupa army and Bowser (who wants to wed her). She believes that they must join forces with the Kong Kingdom and so the trio travels there. Their king, Cranky Kong (Fred Armisen) will only help if Mario can defeat his son, the reigning “maze-fighting” champ Donkey Kong (Seth Rogen) in the big arena. But even if he’s victorious over the hulking brute, will Mario reunite with Luigi, before Bowser claims this strange land and sets his sights on the world above?


The all-star cast sounds as though they’re having a blast voicing these iconic characters that were probably a big part of their childhood. Pratt (who does a bit of the Italian dialect in an early sequence) is properly heroic and confident as Mario, even as his training and a certain ape pummel him. Day is the shakey, in-need-of-protecting kid brother who finally finds his inner warrior thanks to the love of his big bro. Taylor-Joy is an approachable princess, kind of a big sister or sitter to the duo, who is far from the typical storybook “damsel in distress”. Key is full of squeaky-voiced charm as the ever-helpful Toad. Armisen brings a bit of off-kilter snark to the rascally Cranky Kong. Bowser is given a gravely-voiced gravitas by Black (I keep thinking of Mickey’s nemesis Pete), who makes him into a soulful lounge lizard at the piano for his anthem love ballads for “Peaches”. Sure, they’re terrific, but the stand out for me was the perfect casting of Rogen as an agitated aggressive grumpy gorilla, who boasts while he bashes, but is capable of “niceness”. Seth’s familiar chuckle just sounds right coming out of the mouth of the muscular barrel-tosser.

Oh, the aforementioned animation house is the French branch of Illumination. This isn’t their first licensed property (the Seuss stories), so they ably adapt the pixel people into full fluid moving cartoon stars (there was a Saturday morning cartoon in the late 80s). As this is a co-production with Nintendo, the classic character designs are closely followed, somehow making the story work between the more “realistic” Peach to the “bigfoot-style” brothers, the 30s take on the Kongs, and the funny fiendish Bowser and his reptile crew. The use of 80s pop-tunes seems to work within the tale’s action beats. Bits of the gameplay (coins, boxes, and ‘shrooms) are cleverly dropped in, along with some witty bits of slapstick and dialogue. Special kudos to the color stylists who created some eye-popping rainbow-hued backdrops and props. This isn’t a huge ground-breaking achievement in animation history, but it moves along at a good pace for both kids and their folks making this “family fare” that’s better than most world expect. Maybe I wouldn’t use that “s” word, but I’d say that smarty, stylish, and silly work for THE SUPER MARIO BROS. MOVIE. And Santa, how about a solo Donkey Kong spin-off flick, ‘puh-leeze’?!

3 out of 4

THE SUPER MARIO BROS. MOVIE is now playing in theatres everywhere

DUNGEONS & DRAGONS: HONOR AMONG THIEVES – Review

Chloe Coleman plays Kira, Michelle Rodriguez plays Holga, Chris Pine plays Edgin, Justice Smith plays Simon and Sophia Lillis plays Doric in Dungeons & Dragons: Honor Among Thieves from Paramount Pictures and eOne.

So, it appears that the Spring of 2023 may just be recalled as the season of big movies based on toys (I know BARBIE is still several months away). Well, maybe not toys as much as games. The TETRIS movie is streaming, and that plumbing duo returns next week, but this new/reboot flick harkens back to those pre-video game olden days. It’s not based on a board game (the box office dud BATTLESHIP may prevent another one for a while), but rather the “in-between” era. This is based on the big role-playing game juggernaut that swept the nation about 40 or so years ago. Sure there was a big studio adaptation way back in 2000 and a couple of minor sequels followed. Ah, but now it’s time to start fresh with an all-star cast to “roll the dice” for DUNGEONS & DRAGONS: HONOR AMONG THIEVES.

The saga actually starts in the prison known as Revel’s End where an escape occurs during a meeting of the pardon review judges. This happens after we hear the tale of the “bard” Edgin (Chris Pine) who fell from grace as a member of the noble spies, the Harpers when his beloved wife was slain by the feared and despised Red Wizards. Luckily he befriends an exiled barbarian, Holga (Michelle Rodriguez) who helps him raise his baby daughter Kira. Soon the duo becomes part of an honorable (no-killing) band of thieves that includes sorcerer Simon (Justice Smith), rogue Forge (High Grant), and his mystic partner Sofina (Daisy Head). Edgin wants no part of a dangerous heist planned by Forge until word leaks out that part of the treasure is a resurrection tablet that would bring back Edgin’s wife. This leads to his and Holga’s capture, imprisonment, and now escape and on the run. The duo journeys to Neverwinter where Forge has been elected the land’s Lord and is raising teenage Kira (Chloe Coleman) with Sofina’s help. Ah, but Forge has poisoned Kira against her dad, then arranges for the duo’s demise. The two evade the chopping axe and dash away to form a new band to return to Neverwinter and take the riches (including that tablet) from Forge’s magically fortified vault. Edgin and Holga reunite with Simon who suggests that they enlist his former paramour, the Druid Doric (Sophia Lillis) for the quest. Ah, but the vault’s spell is too powerful and Simon needs a device to open it. It is an enchanted helmet. With the help of the paladin Xenk (Rege-Jean Page), they retrieve it. But even with this in hand, can this motley crew survive the forces of Neverwinter before the deadly masterplan of Forge and Sofina dooms Kira and all of the realm’s denizens?

And, just who should be considered the “leader” of this earlier mentioned “all-star” cast (though his character would insist on “planner”)? Probably the former Captain Kirk and Amazon beau, Pine as the lovable scoundrel (much like Han Solo), Edgin. Pine projects the needed amount of “daring do” and a big helping of knowing snark, though it’s tempered with Edgin’s deep loss. He’s a thief who has been robbed of his soulmate, but he won’t lose the child born of their love. Pine’s Edgin makes a good comic team with Rodriguez’s often stoic sullen Holga. It’s a splendid physical performance as her body language is close to a fierce coiled animal, one that strikes out with swift, deadly force when pushed. Oddly Rodriguez also gives her a nurturing tenderness as she becomes a big sister/mentor to Kira and later as she is haunted by her own lost love (fabulous cameo alert). Also balancing the comic and heroic is Smith as the often overwhelmed Simon, whose wizardry needs a big boost of confidence, as he tempers expectations (“Magic has its limits!!”). It doesn’t help that his “big romantic crush” is fighting alongside him. Lillis as the equally gifted Doric is more bold and brave, and appears a bit puzzled and charmed by Simon’s flirtation, while she puts up a stern, unyielding front. Though he joins the team briefly, Page seems to be having a lot of fun skewering his heroic heartthrob image as the “too-noble-to-be-true” Xenk (here’s a TV “deep dive as he was almost a swashbuckler take on Tom Sellek’s Lance White on the mush-loved “The Rockford Files”) who is a constant thorn in Edgin’s side. Oh, but he’s not having as much fun as Grant whose Forge always has a twinkle in his crafty eyes as pulls a con on everyone in sight. Who knew that Mr. 90’s Romcom” would age into such an engaging villain? He’s aided by Head as the creepy, sinister Sofina and the assured Coleman as the conflicted confused Kira.

Well, will you be completely lost if you’ve never seen the previous films, the 80s CBS Saturday morning cartoon (look for a knowing nod to it), or even picked up the multi-sided dice? If you’re like me, then not at all. Happily, this is a spirited and imaginative fast-paced all-ages ride that blends more bits of humor with the atmosphere of the LOTR franchise, though it’s blessed with brevity. That may be largely due to the creative duo behind the camera, who also wrote the screenplay from the story by Chris McKay and Michael Gillio. After some terrific recent movie comedies (GAME NIGHT deserved better at the box office), Johnathan Goldstein and John Francis Daley (who is also a talented actor, having played the D&D-loving Sam Weir in the adored one-season TV wonder “Freaks and Geeks”) prove quite adept with fantasy adventure (did I mention they worked on the script to SPIDER-MAN: HOMECOMING), by delivering a witty grand experience, an unexpected charmer. Now there are superb action sequences galore, but some of the comedy bits are just as memorable (all I’ll say is “quizzing corpses”). Really, it didn’t have to be this good, but you’ll be happy it is. One thing that gave me a big smile was the great use of “practical effects”. In most fantasy/SF flicks today, every weird creature is made of pixels. For this, many life-sized creature suits and masks were made by skilled craftsmen and expert puppeteers (much like in the 1980s when the first Conan film started a “B-movie” boom). Mind you, there’s plenty of CGI, but it’s done with style and never detracts. Doric is an expert shapeshifter who uses this gift to spy on the baddies in an amazing chase sequence (she’s also a fearsome fun “owl-bear”). The costumes are eye-popping the locations are lovely. If they can keep up this level of quality, then let’s hope that a new family film franchise is launched by the entrancing DUNGEONS & DRAGONS: HONOR AMONG THIEVES. Huzzah!


3.5 Out of 4


DUNGEONS & DRAGONS: HONOR AMONG THIEVES is now playing in theatres everywhere

TETRIS – Review

Okay, so we’re mere days away from the release of an animated CGI feature based on one of the biggest video game properties. Y’know about the two plumber siblings? Perhaps you’re needing another big “game” dive, but don’t want to try and stream the recent Sonic flicks, or any of a dozen movies lifted from the very successful gaming franchises. Well. we’ve got a new film all about that late 80s game where you try to fill in a wall at the bottom of your screen with a series of four brightly colored blocks. Really, a flick of those downward-floating bricks? They couldn’t grab the rights to Pong? Oh no, this is all about the creation and marketing of that game, and it’s almost a cold war thriller. Don’t roll your eyes, because there was a lot of high-stakes intrigue in the story of TETRIS.


After a nifty 8-bit graphic intro, we’re transported to the “go-go” days of 1988, specifically Vegas, baby, for the big Consumer Electronics Show. Henk Rogers (Taron Egerton) isn’t seeing much traffic for the game he created for his own Bullet Proof software firm, “Go”. BTW, his name really is Henk, no typo, as he was born in Holland, raised in the USA, and now has his own family in Japan. Seems everybody is checking out Tetris, a computer game born in the Soviet Union. After trying it, Henk understands. Back in Japan, he tells his bank loan officer he needs more cash because he scooped up the right to distribute Tetris there. But Henk has bigger plans, and after securing another risky loan, he flies to Seattle to try to interest Nintendo. But they have a surprise for him. After Henk signs an NDA, the execs give him a test plan on a “hand-held’ video gaming system dubbed the “Gameboy”. And nobody’s nabbed the hand-held rights to Tetris. Since another “agent”, Robert Stein (Toby Jones), has wrapped up most of the rights for Britain’s Mirrorsoft owned by media magnate Robert maxwell (Roger Allam) and his son Kevin (Anthony Boyle), Henk has to get over to the USSR and strike a deal with the game’s creator Alexey Pajitnov (Nikita Yefremov). The trouble is, Laexey created the game while working for the government computer division, Elorg, so Henk has to get around his greedy supervisor Nikolai (Oleg Stefan) while evading sinister KGB enforcers, since he lied to get into the country, stating to officials that he’s a tourist. As he’s put everything on the line, can Henk strike a deal…with someone. But more importantly, can he get out of Mother Russia and back to his wife and kids in Japan in one piece? Or just …alive?

Though the title refers to the “object of desire”, the tale’s real focus is Rogers who is imbued by an almost foolhardy determination by the compelling Egerton, sporting a pin-point trimmed mustache. Henk will not let anything, not even the still ferocious Russian “bear”, deny him his “brass ring”. Through his expressive eyes Egerton shows us how this hard-charging software hustler, is always trying to stay two steps ahead of his rivals, and looking for the nearest exit. He’s always “in over his head”, but we can almost hear the gears clicking in his noggin in order to try another angle. But Egerton conveys his softer side as he regrets the broken promises made to his daughter. Oh, the main rival is the terrific Jones as Stein, who he portrays with a “Willy Loman-eque” pathos until his suppressed rage explodes. The “big boom” happens when dealing with the Maxwells. Allam as Maxwell senior is a “profit whale” looking to gobble up any item to satisfy his greed, while deflecting chaos by expert “record-juggling”, and never loosening that tight near-choking bowtie. His son Kevin, played with his own anger issues by Boyle, yearns to prove his worth and get the respect he thinks he deserves (“You will call me, sir!!”). Efremov as inventor Pajitnov may be the most sympathetic and tragic character in the saga as the mastermind behind the game who is denied any of his labor’s fruits, yet still, believes in his homeland’s original goals. Unfortunately, they’re now twisted by sadistic goons like the black-suited Valentin, whose constant caustic sneer is provided by the intimidating Igor Grabuzov. Happily the film showcases two great actresses: Sofya Lebedeva as Henk’s frazzled but supportive interpreter Sasha and Ayane Nagabuchi as Henk’s equally supportive but very frustrated wife and company partner Akemi.


Consider this quirky true (pretty much) tale an unexpected gem. Much of its impact comes from the tight confident directing of Jom S Baird, who also gave us a very different but equally excellent true tale a couple of years ago in the criminally underrated STAN & OLLIE. Who’d have thought that a story involving a video game could be a nail-biting cold war thriller? Really, instead of a micro file exposing double agents or a chemical weapon formula, the big goal is grabbing signatures to obtain usage rights to the wall-building “time-waster” (one supervisor bemoans all the work hours lost by his staff). The first act is fluffy fun, playing with 1980s fashions and excesses with treks to London, Seattle, Vegas, and Tokyo, but the tone quickly shifts in the USSR. Though we observe its slow crumble (long market lines), there’s still danger around every dark dreary corner (the color desaturation really works). We also see how the younger generation is straining to break out of their elder’s oppressive shadows. Hey, there’s even an engaging sequence involving the big May Day parade and then-leader Gorbachev. And somehow all the contract wrangling never gets confusing or dull, thanks in part to the cleaver screenplay by Noah Pink. Throw in the aforementioned fun 8-bit animated graphic establishing shots and “scene-bridgers’ with the appropriate techno-synth score, and we’ve got a surprisingly compelling pop culture thrill-ride that is just as engaging as any video game, including the original TETRIS.


3 Out of 4

TETRIS streams exclusively on AppleTV+ on Friday, March 31, 2023

SPINNING GOLD – Review

The film year of 2022 pretty much ended with a “music biopic”, WHITNEY HOUSTON: I WANNA DANCE WITH SOMEBODY (at least I’m making it the “year’s end” as it was the last advance screening I attended). It did fairly well at the box office but didn’t come close to the critical and award accolades of BOHEMIAN RHAPSODY or JUDY. But that’s not going to halt Hollywood from “mining” this material, and so we’re getting a tune-filled “true” tale at the end of 2023’s first quarter. Oh, but this has a twist in that it doesn’t center around a beloved performer. No, this concerns the head of a record company. Yeah kids, in those ancient days before streaming and downloading, people went to brick-and-mortar stores and bought discs produced by these companies AKA recording labels. And one of the biggest of them in the mid-70s into the early 80s was an “upstart” dubbed Casablanca Records, whose goal was to produce “top of the charts” hits. And for a time they were very adept at SPINNING GOLD.


The name of the company is a knowing wink at their “head honcho”, the flamboyant “schmoozer” who named himself Neil Bogart (Jeremy Jordon), hence he’s no relation to the 40s film icon. After a fluffy bit of fantasy involving the tune “Oh, Happy Day”, and a disastrous “showcase” for one of his (eventual) “super-bands”, he guides us through his early years, bouncing from job to job while watching his hustling pop Al (Jason Isaacs) fail to grab the “gold ring”. He meets his future wife Beth (Michelle Monaghan) while teaching dance lessons at her family’s hotel. Soon after, he’s a promoter for MGM records (even scoring as a singer with a “single” tune), which leads to a big spot at “indie” Buddha Records. But Neil has dreams of his own company, so with a few “shady loans from casino mogul Big Joey (Vincent Pastore), he creates Casablanca Records along with a loyal motel crew/staffers (Peyton List, Jay Pharoah, Dan Fogler, and James Wolk). After “poaching” a few established music stars like the Isley Brothers and Gladys Knight, the team hunts for new “properties”. Giorgio Moroder (Sebastian Maniscalo) has produced a unique sound with a transplanted US vocalist in Germany, Donna Summer (Tayla Parx), but what really interests Neil is this hard-rockin’ band that mixes make-up, kinky black jumpsuits, and pyrotechnics called Kiss. And he’s really, really interested in their manager Joyce (Lyndsy Fonseca). Over the next few years, Neil and his posse dodge creditors, evade vengeful record rivals and sign hitmakers like the Village People, Bill Withers, and Parliment as they ride the roller coaster of fame and fortune. But can Steven keep his professional and personal life from crumbling as the temptations of the time, especially that “nose candy”, lure him into a downward spiral?

Making extensive use of his stage musical skills (the original Broadway “Newsies”), Jordan’s giving it his all to make Bogart an endearing “wildcard”. It all comes together best when Jordan joins the “hitmakers’ during the creative process, especially with Knight (who’d take a “Midnight Train to Houston”), but he flounders when the script tries to get past Bogart’s moral failing, making his repeated defense of his adultery, “It’s complicated”, a lazy punchline. In order to make this complex, flawed character work, perhaps a more seasoned screen presence was needed, though Jordan is a talent on the rise. Monaghan is captivating as the first wife under his spell, but the story jettisons her in the last act, reducing her to Neil’s suffering “doormat”, while Fonseca’s Joyce pushes against the “other woman” label, she’s fair too tolerant of Neil’s recklessness. Isaac’s as the neer-do-well papa drops into the tale randomly, to remind Neil of his roots and to show him that the “apple doesn’t fall far…”. Wolk, List, and Gad are almost interchangeable as Neil’s “funky flunkies” (Gad is the go-to comic “pitbull”), but SNL vet Pharoah is effective as Neil’s “window to reality”. Ditto for another “SNL-er”, Chris Redd as a DJ who becomes the “well-oiled” doorway for Casablanca’s product. Unfortunately, the funny Maniscalo has little to do as producer Moroder, other than affect a low ethnic rumble line delivery. Of the label’s “talent,” the stand-outs are Casey Like as the surly mercenary Kiss frontman Gene Simmons and Parx as the often perplexed but sultry songstress Summer.

Since the person at the heart of this biopic is the son of the main subject (with his other heirs listed as producers, you might think that Timothy Scott Bogart had written and directed an affectionate “fluff piece”, extolling his pop’s genius. Well, there’s a bit of that, though he doesn’t gloss over the “dents and dings” in Neil’s armor. Yup, the high points of his legacy shine through, with some stars getting better treatment than others (why do the Village People only get a minute or so, almost as an afterthought). We’re meant to think of Neil as a charming “rascal”, a “bad boy” made good by out-hustling “the squares”. But mostly his showboating comes off as a flashy arrogance, a grating ‘showboat” constantly pulling fiery magician’s flash-paper out of his pockets (what “money man” would take him seriously). we even get an ongoing “debt or profit” title card for “time jumps”. Like his tricks, Neil and his antics become tiresome over the over two-hour runtime. Ditto for the 70s fashions and facial hair (it’s kitschy, we get it) and the constant chainsmoking (an excuse for the young cast to seem cooler and “edgy”). And could they have picked a more cliched final fadeout tune? Despite its “adult themes” (a recent hyped-up movie ursine would snort it up), this “jukebox musical life story” seems more suited to basic cable TV. The end result is closer to zirconium with the ponderous SPINNING GOLD.

1.5 Out of 4

SPINNING GOLD opens in select theatres on Friday, March 31, 2023

A GOOD PERSON – Review

Florence Pugh (left) as Allison and Morgan Freeman (right) as Daniel in A GOOD PERSON, directed by Zach Braff, a Metro Goldwyn Mayer Pictures film. Credit: Jeong Park / Metro Goldwyn Mayer Pictures © 2023 Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved.

Now that we’re a few days into Spring and the temps are rising and the sun’s breaking through, it’s easy to forget that for many it’s always dark, cold, and gloomy no matter what’s displayed on the calendar. Just as the movie theatres are slipping into escapist blockbusters a new drama isn’t waiting for the somber. late in the year, “award time”. It is worth seeking out as it’s a showcase for two acclaimed actors. One is a “star on the rise”, gaining a reputation for compelling work over several genres. The other is a screen veteran, an Oscar winner who has achieved iconic status over the last five decades. The story that brings them together poses an interesting and very complex question: can someone whose act of carelessness resulted in a fatality, ever possibly be thought of as A GOOD PERSON?

When we meet Allison (Florence Pugh). her future looks bright and shiny. The twenty-something is a pharmaceutical rep and a pianist/lounge singer (a “side hustle”). But she’s most excited about her upcoming nuptials to the adoring Nathan (Chinaza Uche). Soon after their engagement party, she’s driving Nathan’s sister Molly and her hubby Jesse to her wedding gown fitting. While maneuvering through construction zones on the busy highway Ally glances down at her phone, when a backhoe lurches into her lane leading to tragedy. When she awakes, Ally’s in a hospital bed with her single mom Diane (Molly Shannon) hovering over her. Before she can stop him, an over-eager state trooper bursts into the room and drops a bombshell on Ally: she’s the only survivor of the accident. Across town, Nathan and Molly’s retired policeman widowed papa Daniel (Morgan Freeman) gets the same news as he’s dropping his granddaughter Ryan (Celeste O’Connor) off at her high school. Cut to several months later as Ally now lives with her mom (the engagement crumbled) who implores her to get off the couch and get a job as they battle over Ally’s increasing reliance on prescription painkillers. When her docs “cut her off”, Ally becomes desperate to “score”. Meanwhile, Daniel is so frustrated as the caregiver to the angry rebellious Ryan that he’s about to “fall off the wagon”. When Ally finally hits “rock bottom”, she asks Diane to contact her dad about paying for a rehab facility. As he’s completely MIA, Ally bicycles to a local church to attend an addiction support meeting. Inside she’s stunned to see….Daniel, who begs her to stay. Could this chance reunion lead to defeating their inner demons and be part of the healing process, or perhaps a friendship?

After being universally praised in last year’s flawed fantasy flick DON’T WORRY DARLING, Ms. Pugh (I’m not calling her Miss Flo, as a leaked phone video call revealed during that PR mess). proves how her considerable talents can take flight with much better material. Ally is a complex, troubled figure but never a victim, as Pugh shows how her physical and emotional scars are slow to heal. We see her in the depths whether literally wrestling with her Mom over “Oxy” or degrading herself at a neighborhood pub with a cruel former classmate (a very good Alex Wolff), but Pugh conveys this as her much-needed “wake-up” call, though her heavy-lidded eyes show us that she’s not out of the fog quite yet. With her new support team, Ally goes past the “survivor” role to real maturity and self-reliance. A big part of that is her initially hesitant relationship with Daniel, and could Pugh ask for a more compelling scene partner than the forever fantastic Freeman? After dropping in for cameos in too many forgettable action flicks, it’s great to see him sink his teeth into this “meaty meal” of a man, reminding us of his deserved regard amongst his acting peers. Freeman does bring some humor to the grizzled ex-cop, especially in dealing with a modern team (loved his “crate” gag), but Daniel has his own challenges as he tries to push through the ever-closing walls of regret and remorse. Like Ally, he must contend with the damage he’s inflicted on others, particularly his son Nathan. Uche is superb as the young man whose grief over the loss of his sister is acerbated by the horrors of his past, still bearing the never-healed cruelty of his father. But he shows how his healing may start with the ending or at least ease the rift. Speaking of parent/sibling squabbles, how great is it to see the comedy powerhouse Shannon flexing her dramatic muscles as Ally’s often flighty (Her “Etsy” plan is hilarious), but steely strong mother Diane? Often wearing her “work duds” (company logo shirt and khakis), she goes from “walking on eggshells” to firmly giving her kin a “kick in the keister”. Kudos also to O’Connor as the often exasperating furious Ryan and Zoe Lister-Jones as the support group’s compassionate but tough (she has a keen BS radar) Simona AKA “Mama”.

It seems logical that this impressive stellar cast would be brought together by another actor, as Zach Braff steps behind the camera to guide them through his screenplay. Making expert use of the New Jersey locations, Braff captures the gritty working-class spirit of the area’s neighborhoods. Though a brutal accident puts the story in motion, he prefers to treat it as bursts or snippets of a waking nightmare for Ally, effectively illustrating how the brain reacts to such intense trauma. Plus he allows the characters to frustrate us, to let their interactions get ugly and often “messy”, as they sometimes fall into old destructive patterns. Save for a convoluted near-catastrophe in the city which brings most of the characters careening together (and violence threatens), Braff avoids the melodrama, opting to show how time can really heal (perhaps the third act is too reliant on montages). He’s made a solid foundation, but it’s the ensemble led by the inspired pairing of Pugh and Freeman that is the real strength of A GOOD PERSON.

3.5 Out of 4

A GOOD PERSON is now playing in select theatres.

JOHN WICK: CHAPTER 4 – Review

Keanu Reeves as John Wick in John Wick: Chapter 4. Photo Credit: Murray Close

I’m guessing that a lot of action blockbuster movies aficionados have been thinking that the multiplexes have been pretty quiet this year so far. I mean the second AVATAR swam in just before the end of 2022. As usual, the Winter has seen lots of horror thrillers, plus a couple of superheroes swooped in for the latest installment of their respective franchises. Ah, now there’s another franchise that brings a smile to the “big stunt spectacle” film fans. The fellow at the tentpole’s forefront doesn’t have a “tech suit” or a sculpted rubber and cape ensemble. No sir, though his fighting attire is a simple black suit, filled with a massive arsenal. His skill is his “super-power”, as we turn the cinematic page to JOHN WICK: CHAPTER 4.


As the film opens the air (and the theatre’s audio system) vibrates from the pounding fists of Mr. Wick (Keanu Reeves) as he trains in the underground lair of his old pal, the Bowery King (Lawrence Fishburne). From there JW is dispatching the head of The Table in a quiet desert. But that assassin agency is tough to stop. Like the hydra of legend, another head pops up to take the last one’s place. Back in NYC at the sanctuary hotel, the Continental, manager Winston (Ian McShane) is startled by the arrival of the Harbinger (Clancy Brown), who orders the place to be evacuated in an hour’s time. With the aid of the concierge Charon (Lance Reddick), it is done. But Winston’s remaining “muscle’ is no match for the crew that serves and protects the High Table’s new head, the Marquis (Bill Skarsgard). He strips Winston of his duties and plans to demolish the establishment. The story shifts to Paris where the Marquis extorts a former agent, the blind assassin and friend of Wick, Caine (Donnie Yen) to track down his pal. But it turns out that he’s at the Continental…in Osaka, Japan. John is in hiding, under the protection of Koji (Hiroyuki Sanada), much to the ire of his daughter, the concierge Akira (Rina Sawayama). But the battle comes there as Caine, the Marquis’ elite guard, and a “freelancer” named Tracker (Shamier Anderson) attack. When their effects fail, Wick meets with Winston in NYC to hatch a plan. In order to earn his freedom, Wick will challenge the Marquis to a one-on-one”old-fashioned” duel. But Wick must be part of a “family” and since his “paper was torn” he must go to Berlin and be “reinstated” by the Ruska Roma. All of those “frequent flyer” miles finish on the streets of Paris as a city-wide chaotic war of skilled killers concludes with a final showdown at dawn.

Whew! talk about “workin’ hard for the money” (I can almost hear Donna Summer crooning)! With his fourth outing in the tile role, Reeves proves himself to truly be a “man of action”, due to his stoic, very rare, line delivery. Actually, he may have less dialogue in this over the entire quartet of flicks. But yes, those actions speak volumes, whether he’s scoping out a plan of attack, or giving a look of aggravation as he tosses away another empty ammo cartridge (imagine if he got a “return deposit” on them, like the old soda pop bottles…oh the dough). Oh, but Skarsgard feels almost “chatty” as this story’s evil mastermind as he tries to temper a sadistic grin, while his evil eyes dart about, keeping everyone around “off balance”. He has the posture and manners of a fancy gentleman but inside lurks a rabid beast. The greatest addition to the series is Yen, as the reluctant nemesis. He relies even more on body language as his non-functional eyes are shielded by a pair of dark shades. Yen reserves his movement until he has a “purpose” and a “target” (that “head tilt” is the “go signal”). McShane is still silky smooth as Winston, though he’s placed more in the “center of the storm” here with everything to lose. He and the late, much-missed Reddick as Charot are a terrific team. And McShane is a nice counterpart to the boisterous flamboyant Fishburne as Wick’s “corner man” (or Alfred to JW’s Dark Knight). Other “newbies” of note are Anderson’s “dinero-driven” Tracker, who loves his bank statements as much as his loyal canine sidekick, Sawayama as the hotel (and Daddy) defender Akira, and Brown as the somber solemn Harbinger.

To call this an action extravaganza would be a true understatement. It certainly subverts the old “law of diminishing returns” with sequels. By the time most franchises get to the fourth entry, they’re usually showing signs of fatigue. With this new outing they really want to give the fans lots (and I mean lots) of bangs (and fights and explosions and chases) for their bucks. Plus this may be the most “globe-hopping” of the series, rivaling the Bonds and Bournes, and Impossible Mission teams for the far-flung locales. The mayhem begins in the Big Apple, shifts to Japan, then to Berlin, before giving the “City of Light” a chance to shine, making the cinema setting feel fresh and replacing romance with danger lurking just past every bistro. “Upping the ante” considerably is returning director Chad Stahelski who gives the chaos a lush gleam via the expert showcasing of the exotic exteriors and interiors, from the palace of the Marquis to the neon cool of the Osaka hotel, to a stadium-sized techno dance hall bathed in glistening non-stop rain. Of course, as the carnage continues, the authorities are nearly non-existent, perhaps due to the power of the High Table, eh? Well, that’s a bit “nitpicky” since the legions of fans (are they Wick-warriors) will be ecstatic (and yes the “head shots” are staggering). I can imagine that the video storyboards for the stunt sequences were more intricate than most animated features. Big colossal kudos to the army of superb stunt people whose coordination and physicality rival all the dancers in the MAGIC MIKE trilogy. And praise must be given to the sound team (sitting in the back row I felt as though the vibrations gave me a nice “spine treatment” as a bonus). Sure, you may want to question the “physical endurance’ of the title character, but set aside science and buckle up for the high-octane thrill ride that is JOHN WICK: CHAPTER 4.

3.5 Out of 4

JOHN WICK: CHAPTER 4 opens in theatres everywhere on Friday, March 24, 2023

BOSTON STRANGLER – Review

(L-R): Carrie Coon as Jean Cole and Keira Knightley as Loretta McLaughlin in 20th Century Studios’ BOSTON STRANGLER, exclusively on Hulu. Photo by Claire Folger. © 2022 20th Century Studios. All Rights Reserved.

Do you recall what kind of viewing was all the rage when most of us were stuck indoors during the big pandemic a couple of years ago? Well, aside from a fictional fable of a chess whiz, it was true crime streaming TV. Of course, many folks still love to binge these often multipart documentaries. And one has become a docudrama, about that Tiger King. A good number of them concern that thriller staple of the last three or four decades, the serial killer. So when did this “boogeyman” enter the zeitgeist? You could go all the way back to Jack the Ripper. Well, this new film is about his American cousin who was a terror of the early 1960s. he even got the big Hollywood treatment 55 years ago. But here’s a new take in which he’s a supporting player since this story mostly concerns the two intrepid news reporters that aided in the capture of the BOSTON STRANGLER.


This version of the tale actually begins with a murder in a state far away from “Beantown” as Det. DeLine (Rory Cochrane) discovers the horrific aftermath of a disturbance call at an apartment building. From there we jump back a few years to the cold Eastern US streets in early 1963. Loretta McLaughlin (Keira Knightley) is becoming frustrated in her job writing for the Boston Record America. She yearns to be part of the “crime beat’, like Jean Cole (Carrie Coon). Instead, the paper’s editor Jack Maclaine (Chris Cooper) thinks that she (and other female reporters) are better suited to cover fashion shows and test new toasters. But Loretta’s been following a series of murders that have been “buried” from the front page. Since the Summer of 62,’ a couple of (mostly older) single women were found strangled with their pantyhose (looking like a “gift bow”) with almost no evidence or signs of forced entry into their homes. Loretta locates the local “cop bar” and finds a sympathetic ally in Det. Conley (Alessandro Nivola), who thinks his bosses are “dragging their heels”. Finally, Loretta brings her research to Jack, who dismisses it because he doesn’t want to antagonize the police and city hall. But the murders continue, and Jack finally gives her the go-ahead, but she’ll be paired with Jean. As their stories are now front page fodder, Jack decides to promote the pair as his crimebusting Lois Lanes. But will their byline and publicity stills put a target on their backs for the fiend they’ve labeled (replacing “phantom”), the Boston Strangler?

As you might have surmised, the story’s main character isn’t the title one, but rather it’s Knightley as the dogged reporter. We can almost see her Loretta roll her eyes when she’s handed a “puff piece” and later attempt to hide her annoyance at home with her kids and hubby. When she begins really digging, she plows through the sexist barriers that the police and her “higher-ups’ try to block her questions (shades of Hildy Johnson). Extra kudos to Knightly for nailing the Yank accent without drifting into the “caar in the yaard” cliches. Ditto for his ink-stained partner Coon as the seasoned writer Jean. She tries to temper Loretta’s zeal, but slowly we see that Jean’s own passions are re-ignited by the forced pairing. Plus her tenure gives her the chutzpah to go toe-to-toe with her grizzled overseer, editor Jack played with gruff and gravitas by the always compelling Cooper. He’s an old newshound who, bit by bit, sees the need for “fresh eyes” as he goes out on a limb, risking the ire of the owner and city hall, to scoop his rivals. Plus he’s not above a little “razzle dazzle’ as he sees a way to exploit his staff’s “novelty” (the duo as a “sidebar'”is an extra “grabber”). Also a bit terse is Nivola, as the best cop who doesn’t want to “make waves”, but has to get the killer, even if it means tossing “off the record” info to Loretta. We see a growing mutual respect build between the two, even as Conley tells her to tell the station operative that she’s his sister. And of note is Morgan Spector as Loretta’s husband James, who gushes with pride over his wife’s works until he winces as he eats away at her time with him and the kids.

Although it’s been several months since the previous film’s release, this could almost be seen as a “prequel in spirit” to the under-appreciated SHE SAID, as both involve hyper-focused female newspaper reporters. However, this new take on a long, long ago investigation has strong elements of a classic whodunit, while also highlighting the sexist attitudes in the days before the women’s liberation movement. In the newer film, we know who the “perp’ is, while Jean and Loretta wonder who may be “tailing” them, perhaps to add to an ever-growing morgue list. The women are brave, but they know when to skirt danger, as Loretta decline one creep’s invitation to his “lair”. This well-crafted true-crime drama is told with great skill by writer/director Matt Ruskin, eschewing the exploitative tone of the 1968 potboiler. The mood and the settings take us back to the early 60s, from the newsroom alive with a typewriter “symphony” to the cold, dark desolate streets that hide a maniac. Oh, if you think you know the real story from the Tony Curtis flick, well you’re in for lots of shockers. While last year’s movie has a true finality (though the Weinstein case is still active), this one hints that it may be too late for a real “solution”. But with this superb cast and expert execution, there should be a new spot on the list of newspaper crime dramas, alongside ZODIAC, ALL THE PRESIDENT’S MEN, and SPOTLIGHT for BOSTON STRANGLER.

3.5 Out of 4

BOSTON STRANGLER streams exclusively on Hulu beginning on March 17, 2023

WILDFLOWER (2023) – Review

This Friday sees the release of a “coming of age” story with a couple of very interesting twists. Yes, it’s about a young woman yearning to break free of her childhood home as she approaches the end of high school. Of course, there’s all the college prep, changing friendships, and even a new budding romance. Now, here’s the big detour: she’s conflicted as she believes her folks can’t really fend for themselves. In fact, many might think that she’s really “raising” them. So there’s the conflict between exploration and guilt. And it is “inspired by real events”, in fact, it’s a dramatized take on a documentary from a couple of years ago. Plus it touches on many similar themes as a film from earlier in the month. So, with this young woman’s blossoming new life, could she be the title’s WILDFLOWER?


The opening of the story has us following Las Vegas high school senior Bea Johnson (Kiernan Shipka) through her nearby suburban street, far from the “strip”.A quick cut and she’s sleeping in a hospital bed. Actually, she’s in a coma, As her family flits in and out of the room, Bea narrates a long flashback, in hopes of recalling how she got here. The locale shifts to a nearby California suburb as hunky Derek (Dash Mihok) mows the lawn of the home of Peg (Jean Smart) and Earl (Brad Garrett) as their smitten daughter Sharon (Samantha Hyde) watches. The folks allow her to bring him a lemonade, believing nothing will come of it. Sharon is developmentally challenged from birth, while Derek endured a brain injury when he was seven, leaving her mental capacity at that age. Of course, soon the young couple elopes, prompting a “sit down” with Peg, Earl, and Derek’s parents from Vegas, Loretta (Jackie Weaver) and ‘Papa J’ (Chris Mulkey). The decision to not get the marriage annulled leads to talk of Sharon getting sterilized. A horrified Peg takes it “off the table”, since they surely won’t start a family. Naturally, Sharon soon gives birth to Bambi (later she would insist on going by Bea). The new family puts down roots in Vegas, and all seems to go well until “the truck incident”, which prompts Sharon’s sister Joy (Alexandra Daddario) to swoop in with hubby Ben (Reid Scott) in order to eventually take custody of her. But Bea’s free-spirited nature makes for a poor “match” and soon she’s back with her folks. Bea shines academically, takes over housekeeping duties, and even has an afterschool job. As she begins her final high school year, a helpful guidance counselor nudges her to apply for scholarships, while Bea acts on an attraction to a new student, the rich, hunky Ethan (Charlie Plummer). But could he handle the unconventional Johnson family structure? And can Bea even think of leaving the increasingly dependent Sharon and Derek? Could all that pressure have led up to the coma?

Shipka delivers on the promise of her excellent TV work as Sally Draper on the iconic “Mad Men”. As with that role, she conveys a sharp wit, delivering the proper amount of snark with every “burn”, but her Bea is more than a “Daria” clone (another cable TV reference). With her confident line delivery and gestures, we see the affection and frustration she feels for her folks, tempered with her close bond with her school BFF (played with great charm by Kannon) and her hesitant romance. Kudos also to Ryan Liera Armstrong who is spot on as a pre-teen Bea. As dad Derek, Mihok is an endearing “man-child” with no filter as he peppers strangers with religious queries while never losing his dignity. He’s matched by the entertaining Hyde whose defiant pout speaks volumes. Plummer’s also effective as Bea’s dream guy, Ethan, who truly sees her soaring spirit. The addition of Smart as Peg super-charges the few scenes she has, even as she’s often regulated to being “the voice of reason” and the exasperated “straight woman” to the hi-jinks of the unique crew, especially Weaver as the boisterous flamboyant Loretta. Garret is again the sweet, often clueless lumbering “sad sack”, perhaps a cousin of his CHA CHA REAL SMOOTH step-pop. Daddario and Scott make a good comic team as the well-intentioned up-tight “helicopter parents”. Also effective is Erika Alexander as a sympathetic social worker who pops in and out of Bea’s life.

The whole production is a kind-hearted “indie” slice of life which will probably be unfairly compared to last year’s big Oscar-winner CODA and that flick from a couple of weeks ago CHAMPIONS. It compares well with the latter, but the treatment of the parents in this fall short of the scrappy crab-haulers of the former. Too often Bea’s folks are there as a roadblock or a challenge to her goals. Fortunately, there’s plenty of warmth in their encounters in between the chaos, as they contend with “the system”. Much the same can be said of Bea as she “acts out” in the convoluted third act (the “MEAN GIRLS/HEATHERS” subplot feels forced). Plus the cartoonish schtick of a major supporting player feels lifted from a farce. The Vegas settings are great, but other local touches feel dated (slot racing emporiums…today). Director Matt Smukler never stoops to exploitation of the mentally challenged and makes a good plea for compassion (he expands his 2020 doc short), but despite the terrific ensemble cast, led by the compelling Shipka, WILDFLOWER doesn’t quite reach for the sun.

2.5 Out of 4

WILDFLOWER opens in select theatres on Friday, March 17, 2023