Bette Midler – We Are Movie Geeks

FABULOUS FOUR – Review

*Susan Sarandon, Megan Mullally, Sheryl Lee Ralph and Bette Midler in THE FABULOUS FOUR. Courtesy of Bleecker Street*

Bette Midler. Susan Sarandon, Sheryl Lee Ralph and Megan Mullally are the fabulous four actresses cast as best friends in THE FABULOUS FOUR, the latest comedy entry in the recent string of gal pal comedies featuring older, big-name actresses and silly antics. I might call them “broad comedies” but then someone might slap me (insert rim shot). While some of those comedies have been a bit forced, leaning heavily on too-familiar jokes, THE FABULOUS FOUR is fun, a lighter and more relaxed version, and less fully-packed with far-fetched comic bits. This femme-centric comedy about aging, friendship and new beginnings is femme-helmed too, with Australian writer/director Jocelyn Moorhouse at the helm and scriptwriters Ann Marie Allison and Jenna Milly backing her up.

In THE FABULOUS FOUR, four women who have been friends for decades, ever since college, gather in beautiful Key West for the second wedding of one of them. Bette Midler plays the bride, Marilyn, recently widowed and a recent transplant to quirky Key West, but taking the plunge back into the sea of matrimony after a whirlwind romance with a local widower (Bruce Greenwood).

Although the four have stayed in touch, there has been a long-standing rift between Marilyn and her one-time best friend Lou (Susan Sarandon). In college, Marilyn was fun-loving and unfocused, who needed steady, studious pre-med student Lou to keep her on track to graduation. All four were roommates in New York after college, as they launched their careers and Lou went to medical school. But the two best friends had a falling out after Marilyn stole Lou’s boyfriend, and then married him.

Lou has never forgiven Marilyn but Marilyn still misses her old bestie and would love to have her at the wedding. So, of course, the other two, Kitty (Sheryl Lee Ralph) and Alice (Megan Mullally) decide to trick Lou into coming to Key West – a ruse that works like catnip for book-loving, cat-loving Lou.

Yeah, pretty far-fetched, but the film does have a lot of fun with the Key West locale, and all things Ernest Hemingway, with plenty of those six-toed cats. As it happens, all these women have done well for themselves financially, so there is no limit to the fun they can have in pricey Key West. Marilyn lives in large home with a lovely back garden in expensive Key West, where she recently moved. Lou is a successful cardiac surgeon, Alice is a successful recording artist and music producer (with a taste for younger guys) and Kitty has a prosperous business growing cannabis and making cannabis-infused gummies, much to the disapproval of her very-religious daughter. With money no object, these gals have a great time. I’d say a high time but, again, someone might smack me.

Like all of this recent spate of comedies with major older female stars, there are plenty of antics and silliness, with high hopes that hilarity ensues. This one is less breathless than some of them, and the antics are less over-the-top and overly-familiar (mostly), which helps make the whole comedy funnier, more easy-going, and enjoyable.

There is also great chemistry between the women in this cast, especially between Susan Sarandon and Bette Midler, who are the major focus of the plot. But all of them contribute to the comedy, with Sheryl Lee Ralph a standout as a kind of brains of the outfit. Hemingway and literature get a good shout-outs too, in among the mojitos, daiquiris, beaches and hang-gliding. There are serious moments, of course, as the characters deal with a number of matters around aging, friendship, family and being open to new adventures and new beginnings. And an added bonus are two of Sarandon’s own cats, judging by the credits.

The bottom line is that THE FABULOUS FOUR is fun, a light summer treat with enjoyable performances from a truly fabulous cast in one gorgeous locale.

THE FABULOUS FOUR opens Friday, July 26, in theaters.

RATING: 2.5 out of 4 stars

HOCUS POCUS 2 – Review

(L-R): Kathy Najimy as Mary Sanderson, Bette Midler as Winifred Sanderson, and Sarah Jessica Parker as Sarah Sanderson in Disney’s live-action HOCUS POCUS 2, exclusively on Disney+. Photo courtesy of Disney Enterprises, Inc. © 2022 Disney Enterprises, Inc. All Rights Reserved.

Many of us look forward to the end of the year because those Winter holidays are a time to reunite and reconnect with dear old friends. But what if you don’t want to wait out those eight weeks or so for the month between Thanksgiving Day and Christmas? I mean, Halloween is the big Fall holiday, the perfect one to visit with a few movie buddies we haven’t seen for (gasp) thirty years. That’s what the fine folks at Disney+ are thinking. So, make sure you’ve got an extra large punch bowl, light the jack o’ lanterns, and save the big sofa for those Sanderson sisters as they conjure up lots of new supernatural antics in HOCUS POCUS 2. Oh, and pick up a trio of new brooms, too.

In a big switcheroo from the first outing, this story begins in 1653, not 1693, in ole’ Salem, Mass. A big group of hostile citizens, led by the town leader Reverend Traske (Tony Hale) arrive at the Sanderson house to confront the pre-teen trio of sisters. Traske is planning an arranged marriage for young Winifriid, though she only has eyes for that handsome, hunky Billy Butcherson. Escaping the mob, she and her sisters Mary and Sarah, dash into a place where nobody will follow: the Forbidden Woods. While they rest in a clearing, a huge bird swoops down and transforms into the Mother Witch (Hannah Waddingham). She gives Winnie the Book of Spells (ya know, with that creepy eyeball) and warns them not to enact the incantation of “Magicae Maxima”. Then, poof, we’re in modern-day Salem as the high school prepares for the town’s Halloween celebration. BFFs Becca (Whitney Peak) and Izzy (Belissa Escobedo) have their usual plans despite the loss of their other, now ex-BFF, Cassie (Lilia Buckingham), who is attached at the hip to her jock beau Mike (Froy Gutierrez), and is planning a big party at her place, since her dad, Mayor Traske (Hale, natch’) will be at the town square festivities. Becca and Izzy go ahead to the old village recreation attraction and pick up some spooky stuff from Gilbert ( Sam Richardson) who runs a magic shop in the former Sanderson shack. In the dark woods, the duo lights a candle, which (uh oh) produces a black flame that brings back Winifred (Bette Midler), Mary (Kathy Najimy), and Sarah ( Sarah Jessica Parker). Ah, but this time they’ve got bigger plans than merely draining the town kids of their youth. No, Winnie wants to unleash the Magicae Maxima, so they can rule forever. They’ve just got to gather all the needed ingredients like the blood of their enemy (Traske), and the head of a lover (Billy, perhaps). Can Becca and Izzy thwart their scheme and send the trio back to the netherworld?

Speaking of the terribly terrific trio, how can they so effortlessly sashay into their roles as if the last film wrapped 29 days ago rather than 29 years? The grand dame is of course Midler, as she curls a sinister smile around those bunny-like phony fake “choppers”. Her Winifred is regal, menacing, and can belt out a tune that leaves everyone spellbound (oh, you bet we get a song). Just as funny is Najimy as Mary with her “nobody’s home” vacant stare and lop-sided grimace as she “sniffs out the young ones”. And rounding out (oh, those slinky curves) is Parker who still projects a kittenish wink while indulging her “appetites” as she croons the “enchantment” tune to lure the throngs. But there’s a new trio of young women who share an interest in the dark arts. It’s the old “are you a good witch or a bad witch?” conflict led by the compelling Peak as the determined foe of Winifred. Her main aide is the fluttery Escobedo who gives Izzy a frazzled, but endearing warmth. The “third wheel” Cassie doesn’t have quite as much screentime, as she’s off partying with her guy and the “cool kids”, though Buckingham jumps right back into the battle with energy and a renewed appreciation for her “kiddie pals” in the final act. Jones as Billy has a silent movie clown physicality while expertly tossing off great retorts (“Hey, I’m a good zombie!”). Hale is equally doltish in his dual roles, but with some major twists. The Reverend is pompous and devious, while the Mayor’s a jovial “glad-hander”, who only drops his “man of the people” persona when his candy apple mania is denied. Also bringing the laughs is Richardson, who tries to be a friendly magic mentor to Becca and Izzy, but hides his sinister agenda. A bonus treat, though her role is brief, is the dazzling Waddingham, majestic and gorgeous as the “supplier to the Sandersons”.

Taking the reigns (or would broom be more apropos) is director/choreographer Anne Fletcher who embraces the spirit of campy chaos from the initial flick. She deftly handles the slapstick visuals (the trio updates their transports), the musical set pieces (a still fun bit of late 70s pop this time), and the teen clashes on the “social ladder”. The script from Jen D’Angelo, Blake Harris, and original co-creator David Kirschner even have some fun with the “legacy” of the 1993 flick as the sisters have become “drag icons” of the Fall holiday. The only glaring fault of this entry is a bit of “retcon”, an irritation in many sequels. The best example of this is how being called a chicken became a “trigger word” for Marty McFly in BACK TO THE FUTURE PART II (no mention in the original). Here, the main goal of the trio is the “Magicae Maxima”, which is “news to us”. Plus it often feels as though this may be a “try-out” for a possible “spin-off” to continue the franchise with the three younger women, perhaps as more of a “nice teen riff on THE CRAFT or a junior “Charmed”. Of course, the massive fan base that can quote the now cult classic will devour this like a heavy bag of trick-or-treat candies (and no rocks inside, Charlie Brown). Plus the newest audiences (the kiddies) will really love the pre-teen sisters in the flashback opening. No doubt that Jack Skellington, Casper, and the first Sanderson sister romp will be joined as a Halloween staple with HOCUS POCUS 2. No boos from me.

Three Out of Four

HOCUS POCUS 2 streams exclusively on Disney+ beginning on September 30, 2022

The Witches, Bette Midler, Sarah Jessica Parker and Kathy Najimy, Are Back In New HOCUS POCUS 2 Trailer

The trailer and poster are here for the highly anticipated Disney+ Original movie HOCUS POCUS 2, reuniting Bette Midler, Sarah Jessica Parker and Kathy Najimy.

The live-action, long awaited sequel to the perennial Halloween classic, which brings back the delightfully wicked Sanderson sisters for more comedic mayhem, will debut on Disney+ on September 30.

It’s been 29 years since someone lit the Black Flame Candle and resurrected the 17^th-century sisters, and they are looking for revenge. Now it is up to three high-school students to stop the ravenous witches from wreaking a new kind of havoc on Salem before dawn on All Hallow’s Eve.

“Hocus Pocus 2” also stars Sam Richardson (“The Tomorrow War”), Doug Jones (“The Shape of Water”), Hannah Waddingham (“Ted Lasso”), Whitney Peak (“Gossip Girl”), Belissa Escobedo (“American Horror Stories”), Lilia Buckingham (“Dirt”), Froyan Gutierrez (“Teen Wolf”), and Tony Hale (“Veep”).

The film is directed by Anne Fletcher (“Dumplin,’” “The Proposal”) and produced by Lynn Harris (“King Richard,” “The Shallows”), with Ralph Winter (“Hocus Pocus,” “X-Men” franchise), David Kirschner (“Hocus Pocus,” “Chucky”) and Adam Shankman (“Disenchanted,” “Hairspray”) serving as executive producers.

LUCY AND DESI – Review

(Original Caption) Lucille Ball and Desi Arnaz going over business matters. Picture from Lucy’s personal file.

So here’s the perfect companion to one of the big feature film “docudramas” from the last weeks of 2021. You may even consider it a “super bonus extra” for a proposed home video release. Ah, but it’s so much more than that. It delves into the history and legacy more thoroughly than any “squeezed into a brief timeline” big-screen treatment. Sure there are lots of clips from this duo’s greatest collaboration, which is still being adored by fans all over the planet every day, but there are historical artifacts that many of us have never seen and heard before. And happily, there are the early, early”pre-superstardom” snippets as the careers of these two began to converge and meld. These gems along with archival footage have been assembled by a talented comic actress who might be considered a “spiritual offspring” of the feminine half of the couple in question. Hey, these two still come to mind when examining their main medium’s history. In the arena of real-life couples who worked together, you’ve got Lunt and Fontanne on stage, in the movies there’s Bogie and Bacall and in television, particularly comedy, it all begins with (and some say is still dominated by). LUCY AND DESI.

It all starts with the enduring images of the two, Lucille Ball and Desi Arnaz. There are countless clips of the Ricardos: Lucy trying to share the stage with Ricky at “the club”, Ricky exploding with a barrage of Spanish as he reveals Lucy’s newest scheme, Lucy hatches said plot with BFF neighbor Ethel Mertz. Then the filmmakers take us back to the duo’s modest, even desperate early times. Brother Fred (in an archival interview) tells of his sister Lucy almost becoming the head of the household when a target practice accident nearly takes everything from their grandfather’s Jamestown NY home. She’s determined to be a star, trying out for Broadway shows, modeling, and even creating a “wild west” persona “Montana” Ball to try and jumpstart a hopeful film career as she heads to LA. Not far from the US, young Desi flees the Cuban Revolution of 1933 and barely makes it to Miami, eking out a living by cleaning canary cages before his musical skills attract the attention of Xavier Cugat, leading to the formation of Desi’s own band. Fans only familiar with the sitcoms will be dazzled by the early images of the two, Lucy, a Technicolor flaming-red-haired movie goddess at MGM, and Desi, a gorgeous exotic untamed congo drum-pounding heartthrob. Home movie scenes and audio recordings (Desi on seeing Lucy for the first time, “Now, thas’ some hunka’ woman!”) chronicle their fiery romance, courtship, and marriage. We’re treated to an amazing montage of Lucy’s screen roles, many of which couldn’t quite capture her talents (leading lady or wisecracking supporting player). And there’s that TV show that never “went away”. We see the foundation being built for the Desilu empire, and its demise as the divorce almost derails the entertainment juggernaut. Though the heads of the company wouldn’t perform on camera, they still had a behind-the-scenes working relationship…for a time. The film provides an overview of their solo lives and careers leading up to their final days in the late 1980s.

Oh, that talented comic actress I mentioned earlier is none other than the “pride of Pawnee” Amy Poehler, known for her memorable TV work on SNL and “Parks and Recreations” in her impressive feature documentary debut. Though much of the story and materials are familiar, she brings a real vitality to the legend via access to those family treasures. Hearing the duo’s voices paired with the keenly selected clips adds an unexpected poignancy. Footage shot on the set of the 1960s “The Lucy Show” gives us Desi’s unexpected visit to the Studio, surprising the guest star (another show biz superstar), though Ms. B doesn’t look that pleased (maybe just indifferent). We get Ball’s work ethic, hinted at in Sorkin’s biopic, as she shockingly states that, “I’m not funny…I just work very hard”. And though he professionalism often caused many to label her the “B word’, I’d think that stands for “boss” as we see her presiding over a board meeting of Desilu shareholders just after Desi was bought out. .Ms. Poehler know when to sparingly utilize some great “talking head” subjects. Carol Burnett gushes over her “gypsy pal, Bette Midler tells of Lucy’s mentoring, while Charo (yes the “gootchie-gootchie gal”) sings the praises of Desi while strumming a guitar. Most prominently daughter Lucie Arnaz offers insights and anecdotes, while we only hear from brother Desi Junior. Plus we’re treated to news interviews with TV writers Madelyn Davis and Bob Carroll Jr., along with Lucy’s brother Fred, though it’s a shame that the last surviving TV cast member, Richard Keith (“Little Rick”) doesn’t appear. We really get a sense of the Desilu domination of early TV as Desi was the major force behind the three-camera filming setup (still used today) and (for better or worse) the rerun., That’s one of the sadder aspects of the tale as Desi had to remind folks that he wasn’t just the “lucky stiff’ riding the apron strings of his comic firebrand wife. And this helped accelerate the breakup that devastated fans. My only complaint with the film is its omissions of the post “I Love Lucy” careers of the two. Yes, Lucy’s follow-up sitcoms are here, but no mention of her feature film work: two comic romps with Bob Hope, the surprise hit YOURS MINE AND OURS (recently spoofed in LICORICE PIZZA), and the “megaflop” MAME (reportedly Desi tried to warn Lucy of the bomb, but she didn’t listen). Oh, and no mention of the mid-80s misfire sitcom comeback on ABC, “Life with Lucy” (perhaps that’s a good thing). Plus Desi stayed active behind the scenes in the late 60s show “The Mothers-In-Law”. Maybe it’s not a “knock” to wish this engaging and often moving non-fiction film was a bit longer. And really, couldn’t the world right now use a lot more of LUCY AND DESI? Babalooooo!!

3.5 Out of 4

LUCY AND DESI is now streaming exclusively on Amazon Prime Video

Encore Screenings! HOCUS POCUS Screening Twice at The Wildey Theater in Edwardsville October 29th

“You know, I’ve always wanted a child. And now I think I’ll have one on toast!”

Nothing’s more fun than The Wildey’s Tuesday Night Film Series. The Halloween Favorite HOCUS POCUS (1993) played there last week, but turnout was so large, that they are doing it again! HOCUS POCUS will be back on the big screen when it plays at The Wildey Theater in Edwardsville, IL (252 N Main St, Edwardsville, IL 62025) Friday October 29th. at 6:00pm and again at 8:30 Tickets are only $3 Tickets available starting at 3pm day of movie at Wildey Theatre ticket office. Cash or check only. (cash, credit cards accepted for concessions) Lobby opens at 5pm.

Bette Midler, Kathy Najimny, and Sarah Jessica Parker star in HOCUS POCUS. A curious youngster moves to Salem, where he struggles to fit in before awakening a trio of diabolical witches that were executed in the 17th century.

HOCUS POCUS, Kathy Najimy, Bette Midler, Sarah Jessica Parker, 1993, (c) Buena Vista/courtesy Everett Collection

Halloween Favorite HOCUS POCUS Screening at The Wildey Theater in Edwardsville October 19th

“You know, I’ve always wanted a child. And now I think I’ll have one on toast!”

Nothing’s more fun than The Wildey’s Tuesday Night Film Series. The Halloween Favorite HOCUS POCUS (1993) will be on the big screen when it plays at The Wildey Theater in Edwardsville, IL (252 N Main St, Edwardsville, IL 62025) at 7:00pm Tuesday October 19th. Tickets are only $3 Tickets available starting at 3pm day of movie at Wildey Theatre ticket office. Cash or check only. (cash, credit cards accepted for concessions) Lobby opens at 6pm.

HOCUS POCUS 2 Casting Its Spell On Disney+ Viewers In 2022 – Bette Midler, Sarah Jessica Parker and Kathy Najimy Star In Sequel

Bette Midler, Sarah Jessica Parker and Kathy Najimy will reprise their roles as the delightfully wicked Sanderson Sisters in the live-action comedy “Hocus Pocus 2,” the spooky sequel to Disney’s 1993 Halloween cult classic “Hocus Pocus.” The film will premiere exclusively on Disney+ in 2022.

Singer/actress Bette Midler (“The First Wives Club,” “Beaches”) returns as Winifred Sanderson, with Sarah Jessica Parker (“Sex and the City”) and Kathy Najimy (“Sister Act”) back as her sisters, Sarah and Mary, respectively.

In “Hocus Pocus 2,” three young women accidentally bring the Sanderson Sisters back to modern day Salem and must figure out how to stop the child-hungry witches from wreaking a new kind of havoc on the world.

“Hocus Pocus 2” will begin production this fall under the direction of Anne Fletcher (“The Proposal,” “27 Dresses”), who is taking over directing responsibilities from her friend and colleague Adam Shankman (“Hairspray,” “The Wedding Planner”), with Lynn Harris (“The Shallows”) serving as producer. Shankman is currently in production on “Disenchanted” for the studio, which he is directing, but will remain on this project as an executive producer along with Ralph Winter (“Adrift”) and David Kirschner (“Curse of Chucky”). Steven Haft (“Tigerland”) is co-producer.

Fletcher and Shankman first met in 1990 when they were both dancers for the Academy Awards® broadcast. Shankman went on to hire her as his assistant choreographer, working together on over 100 different jobs. Fletcher’s first directing gig was in 2006 on “Step Up,” which Shankman produced.

“As heartbroken as I am that I won’t be able to direct my friends Bette, Sarah Jessica and Kathy in what is sure to be nothing short of a major event for Disney+ due to scheduling conflicts, I couldn’t be more pleased to be handing over the reins to Anne, who has brought so much laughter and joy into people’s lives with her previous work,” says executive producer Adam Shankman. “I am still grateful and proud to help shepherd this ingenious project as executive producer alongside producer Lynn Harris, whom I have loved and admired as a colleague and friend since she helped get me the job choreographing ‘Boogie Nights.’”

“Now more than ever, people need to laugh. We should be laughing every day, and there is so much fun to be had with these three unbelievable women playing delicious characters from such a beloved film,” says director Anne Fletcher. “I am so grateful to be able to play a part in bringing these witches back to life, and to be working with my friends at Disney again makes it all the more special. This is a movie for everyone, from the fans who grew up with the first film to the next generation of viewers, and I can’t wait to get started.”

Julianne Moore, Alicia Vikander, Bette Midler, Janelle Monáe In THE GLORIAS Based on Gloria Steinem Autobiography

Watch Julianne Moore and Alicia Vikander as Gloria Steinem in the brand new trailer for THE GLORIAS.

The film will be On Digital and Streaming Exclusively on Prime Video September 30.

Journalist, fighter, and feminist Gloria Steinem is an indelible icon known for her world-shaping activism, guidance of the revolutionary women’s movement, and writing that has impacted generations. In this nontraditional biopic, Julie Taymor crafts a complex tapestry of one of the most inspirational and legendary figures of modern history, based on Steinem’s own biographical book ‘My Life on the Road.’

THE GLORIAS (Julianne Moore, Alicia Vikander, Lulu Wilson, Ryan Keira Armstrong) traces Steinem’s influential journey to prominence—from her time in India as a young woman, to the founding of Ms. magazine in New York, to her role in the rise of the women’s rights movement in the 1960s, to the historic 1977 National Women’s Conference and beyond.

THE GLORIAS includes a number of iconic women who made profound contributions to the women’s movement, including Dorothy Pitman Hughes (Janelle Monáe), Flo Kennedy (Lorraine Toussaint), Bella Abzug (Bette Midler), Dolores Huerta (Monica Sanchez) and Wilma Mankiller (Kimberly Guerrero).

Alicia Vikander (as Gloria Steinem) and Janelle Monáe (as Dorothy Pitman Hughes) in THE GLORIAS
Courtesy of LD Entertainment and Roadside Attractions
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Taymor gives us her singular take on that rare genre- the Female Road Picture, one in which the female leads do not die in the end, and where the “narrative” is not driven by romance or a bad marriage, or unrequited love or, for that matter, men. Gloria’s road story is about her “Meetings With Remarkable Women”. And that is a love story in itself.

When Steinem was asked how she feels about the movie:

I hope this story will inspire viewers to tell their own stories. After all, our brains are not organized by facts and statistics, but by narrative. As the famous quote by Muriel Rokeyser goes, “The universe is made up of stories, not atoms.” We have been sitting around campfires for all of human history, learning from each other in this way, and movies are a current campfire.

https://www.thegloriasmovie.com/

Julianne Moore (as Gloria Steinem) and Bette Midler (as Bella Abzug) in THE GLORIAS
Courtesy of LD Entertainment and Roadside Attractions
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THE ADDAMS FAMILY (2019) – Review

Move over ABOMINABLE, it’s time for another big animated feature film to hit the ole’ multiplex. Unlike the past Summer’s hit TOY STORY 4 and the upcoming FROZEN 2, it’s not a sequel, but it’s not exactly an original concept or idea. Even though the characters have been kicking around the pop culture ozone since 1937, they’re now in “uncharted territory”. Yes, it was over eighty years ago when Charles Addams debuted this frightfully funny family in the New Yorker magazine. They were part of a series of “one panel” cartoons so popular that they continued to pop up in issues, eventually being collected in book form. Eventually their creator gave them first names (Gomez, Morticia) along with the same surname as the artist. It wasn’t until the 1960s that they gained their greatest fame as part of the fantasy TV sitcom fad (begun by MY FAVORITE MARTIAN and encompassing BEWITCHED, I DREAM OF JEANNIE, and some equally odd neighbors living at 1313 Mockingbird Lane). Now, there’s a bit of controversy around who arrived first. The Addams project was first announced in the “trades” and eventually “beat” THE MUNSTERS to the airwaves by six days. After its brief (only two seasons) run on ABC-TV, the family returned as a Hanna-Barbera Saturday morning cartoon in 1973 (with son Pugsley voiced by Jodie Foster), and was revived by the same studio in 1992. The previous year saw the release of an enormously popular live-action feature film, with a sequel coming out in 1994 (25 years, wow). Now, after a recent Broadway musical, they’re back on the big screen, not in live-action or in 2-D “cell” animation, but in 3D-like CGI renderings. So, as that peppy ole’ theme music from Vic Mizzy says, “…it’s time to pay a call on… THE ADDAMS FAMILY”.

The cartoonist creator and his kooky creepy clan

Let’s label this romp an “origin story”, to borrow a term from the superheroes. Thirteen (of course) years ago, the entire Addams clan is gathered in the “old country” for the midnight wedding of Gomez Addams (voice of Oscar Isaac) and Morticia Frump (Charlize Theron). Unfortunately, before their first dance, the locals arrive with the pitchforks and torches (they may have wondered over from the Universal backlot). There’s only one place the lovebirds can go. With the helping hand of Thing, they make it to America. After “acquiring” their hulking servant Lurch (Conrad Vernon), the Addams newlyweds settle into their new home. Not a museum (as the song states), but an abandoned, haunted asylum. As we forge into the present day we view pics of the family’s expansion, first with gloomy daughter Wednesday (Chloe Grace Moretz), then son Pugsley (Finn Wolfhard). They adore their secluded haven until a red balloon drifts into the yard. The fog lifts to reveal, far below them, a brightly painted planned community. Said “planner” is none other but cable TV’s design and decorating diva Margaux Needler (Alison Janney), who now has “designs” on the creepy mansion overlooking her “picture perfect’ village of Assimilation. Gomez decides to take a break from preparing Pugsley for his Mazurka sword ceremony, assisted by the newly arrived Uncle Fester (Nick Kroll). and greet their new “neighbors”. Wednesday bonds with Margaux’s teenage daughter Parker (Elsie Fisher) and decides to join her at the “middle school”. Can she possibly “fit in”? And what nefarious scheme is Margaux plotting as the Addams distant relatives begin to arrive for Pugsley’s “big day”? Will the celebration become a catastrophe? And, just what is Cousin It (Snoop Dog) babbling about?

An interesting mix of actors (a couple of Oscar winners) and comedians have been assembled to give voice to the famous family and fiends…er, friends. Isaac is a smooth as silk classic Latin lover type as patriarch Gomez. Theron’s Morticia is the epitome of the oh so cool vamp as the matriarch. There’s a terrific energetic raspy cackle to Kroll’s Fester. Margaux has a patronizing “sing-song” delivery, all saccharine with a hint of strychnine thanks to Janney. Unfortunately, the kids feel a tad bland, with Moretz trying to come across as an aloof sounding menace, but seems more bored than demented, while Wolfhard only gives Pugsley an anxious, breathy quality. Luckily comic vets Bette Middler as Grandmama along Catherine O’Hara and Martin Short as the Frump ghosts (SCTV reunion…yes) provide lots of chuckles in their limited screen time. And Vernon gives Lurch a most impressive guttural growl.

In addition, he’s co-director with Greg Tiernan on this, their first big project since 2016’s racy and raunchy SAUSAGE PARTY (quite a turnabout from those R-rated hi-jinks to this family-friendly PG project). For the most part, they recreate the look of those classic characters from the pen and ink panels of Mr. A, though many of the supporting players get into a bit of a design rut, resembling potatoes with “pipe cleaner” thin arms and legs. And the faces are small features surrounded by a fleshy circular ‘noggin. Luckily the fam’ is more interesting. Gomez’s rotund, “striped beach ball” torso works well with his round Peter Lorre caricatured head (great dark sunken eyes). I missed the ever-present cigar that John Astin twirled ala’ Groucho, but I guess that was nixed to get the PG rating. Those same eyes and torso (they’re brothers after all) work well with Fester, paired with his droopy banana nose. Morticia, on the other hand, is comprised of “hard angles” with cheekbones and a chin so sharp they could “thin slice” deli meats. And rather than shoes we see the spider-like hem of her skirt as she glides across the floor (not teeny tiny steps, but hovering). Not sure if the high forward of Wednesday works, but the twin egg-like eyes of Pugsley that look as though they may fall out of his head are quite expressive. The brow and heavy-lidded eyes are a nice nod to the classic Frankenstein monster for Lurch, whose bulk appears to be a black mountain looming and blending into the house’s shadowy corners. And his mouth “quiver” as he delivers the classic “Yoooou rang?” is superb. Ditto to the massive blond bouffant of Margaux, balanced by her plump hips that almost burst out of her blue jumpsuits. Her daughter Parker has a much different look with a button nose and huge expressive eyes making me think of the talented young actress Joey (WISH UPON) King.

If only the same amount of thought and planning of the look of the cast had gone into the uneven script. Yes, there’s much of the same subversive spirit that Paul Rudnick gave to those 90’s features, but the screenplay (credited to three writers) seems to run out of “juice” after the one hour mark, falling prey to the usual funny flick third act “lull”. It abounds with so many great visual gags (Thing’s internet interests) and one-liners (Kroll’s timing kills), but the story has the feel of three sitcom episodes “stitched” together, bouncing haphazardly from plot “A” to “B” to “C” and back again. And these stories mainly focus on the Addams kids, making Morticia and Gomez into secondary support players. And with that PG rating, much of their smoldering sexy banter has been neutered (in the tame 60s sitcom-world, these two generated real “heat”). Only one bit of Gomez driven wild over Morticia tossing out a phrase in French…C’mon?! Still, a few sequences are full of inspired satire, particularly the “Up with People”-style anthem sung by the cheerful Assimilation quintet and Wednesday’s take on biology class (a 70’s sci-fi movie classic reference). But these are shuffled aside to make way for the convoluted plottings of Margaux, who often seems to be at cross purposes. It’s a muddled mess, but the wee ones should be amused by the creepy but not too scary elements (the pet lion Kitty Kat looks like a massive stuffed doll). Even though they’ve seemingly been with us forever, this kooky clan’s non-conformist ways still feel fresh and needed today. Thankfully, despite the script bumps, these folks (cue the big guy on the harpsichord) are still “altogether ‘ooky’, THE ADDAMS FAMILY”. “Snap, snap!”

3 Out of 4 Stars

Bette Midler To Perform For First Time On The Oscars

Two-time Oscar-nominated actress and multiple Grammy Award-winning singer Bette Midler will perform for the first time on the Oscars, show producers Craig Zadan and Neil Meron announced today.

“We are thrilled to have Bette perform on the Oscars for the very first time,” said Zadan and Meron. “We believe she will make our Oscar telecast an especially moving evening.”

Midler received Oscar nominations for Actress in a Leading Role for “For the Boys” and The Rose.”

She has recorded 13 studio albums, the first of which, 1972’s “The Divine Miss M,” sold over a million copies and earned her a Grammy for Best New Artist. Midler has gone on to sell over 30 million albums worldwide and win two additional Grammys for the songs “The Rose” (Best Female Pop Vocal Performance) and “Wind Beneath My Wings” (Record of the Year). She has been honored with three Emmy® Awards and a special Tony Award® in 1974 for her contribution to that year’s Broadway season.

Her numerous starring film roles include “The First Wives Club,” “Down and Out in Beverly Hills” and “Ruthless People,” Last year Midler portrayed the late Hollywood agent Sue Mengers in the hit Broadway production, “I’ll Eat You Last: A Chat with Sue Mengers.”

The Oscars, hosted by Ellen DeGeneres, will air on Sunday, March 2, live on ABC.

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