Tag Archives: Comedy

WICKER – Review

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So, who says that fairy tales and fables are strictly for the toddlers? Certainly not the folks behind this week’s fantasy/satire that’s now at the multiplex. Though it’s not a grand epic like the amazing WILDWOOD, it gets in lots of pointed barbs at societal norms and features a stellar acting ensemble. So what happens when a discarded woman (of a certain age) shakes things up by “hooking up” with a tall, mysterious stranger? Well, a lot, since he’s made entirely of WICKER.


Here’s the standard “setup “. Once upon a time (probably more than 400 years ago) in a tiny village (thinking middle Europe), a woman who sold fish in the market, known only as (‘natch) the Fisherwoman (Olivia Colman), was often ridiculed and dismissed by the village. She was well past the favored marrying age, possessed unconventional features, and smelled of her “trade”. Still, she felt something was missing from her solitary life, and desired a husband, despite the crude wedding traditions (see what they use instead of a ring in the ceremony). Oh, the only merchant in the market who respected her was the eccentric Basket Weaver (Peter Dinklage). One day, he is stunned by her arrival at his home, even more shocked by her request. Handing him several coins, she asks him to “make” her a husband. He agrees and tells her to be ready to be wed at the chapel in a few days. On the morning, the townspeople are stunned by the appearance of a tall, red-bearded, stoic man made entirely of wicker (Alexander Skarsgård). He borrows shoes and a suit, telling them he is to be married. Finally, he walks into the church to meet his surprised and somewhat delighted “blushing bride”. More unconventional than the ceremony is the honeymoon at her home. The passion is so intense and physical that…they break the bed. That is his household “project”, the first of many. As a matter of fact, he dedicates his days to chores (fixing and repairing) and helping her gather fish, and his nights to “making her happy”.When he tells the local men about this, they’re quite angry that he’s not following their ideas of wife/servants. But the women are jealous of the Fisherwoman’s bliss and smiles of “satisfaction”. Will this straight-laced “uptight” village conspire to destroy this very unconventional union? Or can the duo possibly “live happily ever after”?


After her powerful performances in recent dramas, THE FATHER and THE LOST DAUGHTER, some filmgoers might forget that Ms. Coleman is a deft comic actress. Well, let this role be a reminder for us all. She’s the “dark cloud’ in the phony, forced sunshine of this close-minded ‘burg. She pushes back on all the snobbery and disdain thrown her way (and throws ’em right back). Then Coleman hints at the deep longing in the Fishwoman’s regimented life. And when her “order” arrives, Coleman beams with happiness, truly brightening her drab surroundings and neighbors (until they try to squelch it). She has a kindred spirit in the snarky, sneering Basket Weaver, given a dry, sarcastic persona by the terrific Dinklage. Even more than her, he’s looked down upon by nearly everyone, which prompts him to use his caustic wit as a shield and a mace. And then there’s the purity of his creation and the Fishwoman’s always-accommodating lover, the Wicker Husband, given life by the subtle, stoic line readings of Skarsgard. He’s an almost pure, newly hatched soul, taking everything literally, while trying to be pleasant around the very emotional villagers. Their chief agitator is Elizabeth Debicki as the Tailor’s Wife, so compelling as she watches her nemesis living her best life while she is trapped by the local customs and beliefs. She’s a great villainess who still evokes pity. There’s also a delightful supporting performance by the Doctor, who is more interested in his birthday dinner than in tending to a minor wound that becomes needlessly fatal.

Actually, all the actors playing the villagers are great at making the whole “the good ole’ days weren’t that good, really” sensibility soar. Much of the credit for that should go to the gifted directing/screenwriting (from the short story by Ursula Wills) duo of Eleanor Wilson and Alex Huston Fischer (SAVE YOURSELVES!). They establish the sly, satirical mood early on with that bonkers take on weddings and continue skewering the “sweet simple country folk” cliché. They keep the jokes and slapstick zipping along, though not at the expense of the story’s emotional core. It is a love story (unlikely to be sure) so we’re hoping that the lovers are not brought down by outside forces (the results of mistrust nearly doom them). This gives more power to an ending that brings everything “full circle” with a denouncement worthy of the “Twilight Zone” and even the old EC horror comics (and their cousin, Mad magazine). Wilson and Huston make great use of the Budapest locations that riff on the squalor of MONTY PYTHON AND THE HOLY GRAIL (minus the plague). Big kudos to the effects artists, many from Weta, in making this “basket-based” object of desire. And clocking in well under two hours, fans of fables and fabulous actors will enjoy the wickedly romantic comic “strands” woven in WICKER.


3.5 Out of 4

WICKER is now playing in select theatres

FUNNY MONEY: THE DANE COOK STORY – Review

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Looks like 2026 is shaping up to be a great year for documentaries. Now, don’t groan. They aren’t the cinematic version of “eating your vegetables” or “homework”. No, they’re going to be a big part of end-of-the-year top ten lists, not to mention “awards talk”. And this just might be the year that one or two of them crack the Oscar Best Picture list (it can now have as many as ten contenders). YOU CAN SEE EVERYTHING got lots of energized “buzz” at a recent film festival, plus I’ll be praising BOORMAN AND THE DEVIL when it gets a wide release. One of the most popular “doc genres” is the chronicling of a “true crime”, though I really enjoy the bios of “show folk” (really “jazzed” for upcoming ones of Martin Mull, Norm McDonald, and Maria Bamford). Well, this new “non-fiction flick” actually combines the two (“You got celeb in my crime…you got crime in my celeb”). And like that beloved candy, there’s much to savor in FUNNY MONEY: THE DANE COOK STORY. Let’s unwrap this tasty treat…


As the title states, this is the story of stand-up comedy superstar Dane Cook. The opening, like much of what follows, is the funny fella’ talking to us (the camera, really). We get lots of biographical info with faded photos and scratchy 8mm home movies, segueing into blurry home video. Even though he was a child of divorce, Cook made the best of it, with the help and support of his “best pal” and idol, his half-brother Daryl. Always a fan of comedy, Dane entered the world of the open-mike in 1990, during the big stand-up “resurgence” via cable TV, videotapes, CDS, and a slot at nearly every bar with a spotlight and a brick wall. As his star was rising, things weren’t going well for “bro Daryl” in his job as a prison guard. During an altercation, he was sliced with a metal can “shiv” and almost bled out. Dane facilitated a career change, putting him on the “payroll” as head of his security team. Then Daryl became his business manager, just as Dane broke into movies, put a recording on the top of the Billboard chart, and filled arenas and stadiums (a second show was added to MSG). When Dane decided he now needed the services of a big talent agency, Daryl tried to talk him out of it. Then, the unthinkable happened. Dane went to apply for a bank loan in order to purchase a plush estate (no more rentals), and the rep “lowered the boom”. Only “crumbs” were left in the accounts that Daryl had set up for him. Dane was getting “fleeced” by his beloved “bro”. This leads to a cross-country chase for him, as Dane, with his “financial forensics team,” makes some shocking and often absurd discoveries about this “crime spree”.

Separately, this show biz “rise-to-fame” fable and the true tale of greed and deception would be compelling enough, but in this expert blending by documentary vet Bret Harvey (with writing collaborator Pollyanna Hardwick-Brown), the result hits on all emotional cylinders. Though I was unfamiliar with the body of Dane’s work, I found the story of his childhood (lotsa’ “hard knocks,” for sure) and his career ambitions very enlightening, especially the story of him grabbing an absent comic’s “slot”. Then there’s the endearing bond he has with his older stepbrother (Dane still taps into those old emotions). We get “talking head” interviews with childhood buddies of both men, along with their sister. And then there’s Erika, Daryl’s ex-wife (his second missus), who also spins quite a tale. She’s “tough to read” as we wonder if she’s a “co-mastermind” or a very, very naive “dupe”. But her “side” is needed since we never hear from Daryl himself, other than old videos and a haunting final phone message. Yes, it’s heartbreaking, but often quite hilarious, even with the zany scheming of the guilty (you may never think of spaghetti sauce and Bagel Bites in the same way again). Still, much like Dane, we’re left wondering about the “crime”. It’s one thing to “skim”, but he tries to take it all. Perhaps due to his years at the mic, Cook is quite an engrossing storyteller as he pulls us into his astounding career highlights (he passed on auditioning for SNL, but later hosted), then guides us into a dark quagmire of lies and larceny. Still, somehow he can find the laughter bursting through the tears. Kudos to him and filmmaker Harvey for taking us on the wild, wacky, and heartbreaking ride of FUNNY MONEY: THE DANE COOK STORY.

3 Out of 4

FUNNY MONEY: THE DANE COOK STORY is now streaming as a Video On Demand via all major outlets and apps

SHAUN THE SHEEP: THE BEAST OF MOSSY BOTTOM – Review

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You wouldn’t think so by the broiling temps, but the Fall season officially begins in a few days. And helping to push us into the Fall movie season is this family flick that centers on the big holiday. No, Thanksgiving is a couple of months away. This is a big Halloween movie that’s for “all ages”, despite that arbitrary “PG” rating. Unlike the big CG-produced features this year, like TOY STORY 5, HOPPERS, and those MINIONS, this is “old school” stop-motion animation puppetry, before Laika’s WILDWOOD opens next month. And this is a sequel, the latest in a trilogy by that “crazy crew from across the pond”, Aardman Animations. The main stars aren’t Wallace & Gromit, nor the birds of CHICKEN RUN, though the principal setting is a farm. A few months ago, these fluffy lil’ critters were darling detectives, so why can’t they figure in a monster movie satire? So, let’s get our “tricks n’ treats” with SHAUN THE SHEEP: THE BEAST OF MOSSY BOTTOM. Boo! Baaa!


In a bucolic farm just outside of the quaint little village of Mossingham, that sheep, Shaun (voiced by Justin Fletcher), and his flock are secretly growing prize pumpkins for the big upcoming Halloween festivities. The crop is looking fantastic until the Farmer (John Sparkes) crashes through the patch while trying to ask the pretty local veterinarian (Nina Sosanya) to the town’s big Country and Western-themed dance, the “Halloween Hoedown”. It’s a gloopy gourd massacre, but the tiniest sheep, Timmy (Fletcher, again), saves the seeds. Ah, but Shaun has an idea. He discovers an old, dusty science book for kids, which inspires him to create a salve cream to supercharge and stimulate the seeds. Scrambling to find a container for his formula, Shaun grabs an empty bottle of hair growth gel from the Farmer. The pumpkins are swelling up, but the Farmer, wanting to restore his lush locks for the vet, uses the “quick-grow-goo” on his shiny pate. And it works on him, too. Ah, too well! Soon, he’s covered in hair, resembling a sasquatch. When the townfolk spot him, they immediately go into angry and scared “mob mode”, complete with torches and pitchforks. Shaun and his sheep pals have to rescue him and provide a cure before he’s shipped off to “Bigfoot Island”, while also dealing with those now gargantuan orange behemoths that threaten to destroy the farm and the village.

Though I’ve listed some voice actors, this funny flick is basically told in pantomime, harkening back to those olden, golden days of silent screen comedies. Their lines are basically gibberish and accented “mumbles”. And that’s what is showcased here: the superb visual design, from the main characters to the lush backgrounds (a great early gag involves a false painted bit of scenery which had me fooled). The always-blinking eyes are so expressive, paired with the superb physical acting of everyone (terrific “poses” abound). Happily, the “tactile” qualities of this variant of “claymation” isn’t completely “smoothed over” with too many pixels (as with the greats like Ray Harryhausen, there’s the feeling of the figures being gently guided by human hands). It all blends, thanks to the witty, satirical script by Mark Burton and Giles Pilbrow and the directing team of Steve Cox and Matthew Walker, based on the TV series begun in 2007 by Nick Park and Bob Baker. All the classic monster movie tropes are given their due. Shaun goes into full “mad scientist” mode, as a mix of Baron Frankenstein and Doctor Jekyll, with appropriate lighting effects. And the people of the village seem more Transylvanian than British (love the obnoxious “influencer”). There’s even a brief segment done in classic 2D animation with a touch of finely inked children’s book illustration. This is truly excellent “all-ages” entertainment, with sumptuous sight gags along with the parody bits for the elders, and a brisk 80-minute runtime for the “wee ones” (since it’s not too scary, this might make a great “first movie in a theatre experience”). After the triumph of the last Wallace & Gromit romp a couple of years ago, this zany comic adventure reminds us of the joyous cinematic gems from Aardman’s awesome artisans. So, yes, SHAUN THE SHEEP: THE BEAST OF MOSSY BOTTOM is far, far from “baaad”. It’s an animation sensation.

4 out of 4

SHAUN THE SHEEP: THE BEAST OF MOSSY BOTTOM is now playing in select theatres

MAYDAY (2026) – Review

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

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

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

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

3 Out of 4

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

COYOTE VS. ACME – Review

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

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

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

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

3.5 Out of 4

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

TEENAGE SEX AND DEATH AT CAMP MIASMA – Review

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

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

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

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

3 Out of 4

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

ONE NIGHT ONLY (2026) – Review

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


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

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


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

3 Out of 4

ONE NIGHT ONLY is now playing exclusively in theatres

THE DINK – Review

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

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

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

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


2 Out of 4

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

THE INVITE – Review

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A couple invites another couple, their new neighbors upstairs, over for dinner, but that ordinary thing opens the door to an evening neither couple seems likely to forget. The smart, dark comedy THE INVITE is part “Who is Afraid of Virginia Woolf” and part “God of Carnage,” yet neither, as it deals with adult matters of relationships and sex with biting, frank humor. THE INVITE pits hosts Angela (Olivia Wilde) and Joe (Seth Rogen), a bickering couple dissatisfied with life who are dismayed by the noise the new upstairs neighbors make, against those upstairs neighbors, Spanish divorcee Pina (Penelope Cruz) and her widower husband Hawk (Edward Norton) as they dance around the issues the hosts have in their own rocky marriage and Joe’s resentment of the loud, late night sex noises they hear nightly from Pina and Hawk’s apartment.

with searing, frank humor. THE INVITE pits hosts Angela (Olivia Wilde) and Joe (Seth Rogen), a bickering couple dissatisfied with life who are dismayed by the noise the new upstairs neighbors make, against those upstairs neighbors, Spanish divorcee Pina (Penelope Cruz) and her widower husband Hawk (Edward Norton) as they dance around the issues the hosts have in their own rocky marriage and Joe’s resentment of the loud, late night sex noises they hear nightly from Pina and Hawk’s apartment.

Olivia Wilde directs as well as starring in this sophisticated, sometimes squirm-inducing comedy dealing with grown topics. The cast is superb, individually and as an ensemble, and Wilde’s direction is strong as well. THE INVITE is an excellent showcase for this fine cast, giving the actors real red meat to sink their teeth into. Although it is a comedy, THE INVITE is dark, even hard stuff, with many uncomfortable and even squirm-inducing, if funny, moments, as it frankly, and maybe even perversely, addresses matters of real-life relationships and life.

Joe and Angela’s marriage is in trouble, and the noisy neighbors upstairs are not helping matters. Neither of them are happy people. Seth Rogen’s Joe is a failed musician who now teaches at a local community college without enthusiasm, and seems to wallow in his despair, avoiding even touching the piano he still keeps in his study. He clearly feels a failure but seems determined to embrace that misery as his identity. Angela is a frustrated stay-at-home mom, who cares for their daughter and spends too much money, who is bursting with pent-up frustrations, including over her husband’s embrace of misery. They bicker constantly.

We see plenty of that bickering but the comedy opens with an orchestra performing in a theater. The sole audience member is Seth Rogen’s Joe, clearly their teacher. Yet when the performance ends, he says little and hurriedly leaves, exiting the theater with a bulky item that turns out to be a foldable bike.

After absurdly struggling up San Francisco’s hills on that ridiculous foldable bike with its tiny wheels, Joe arrives home and is dismayed to learn his wife has invited the upstairs neighbors to dinner. He chides her for not letting him know about the dinner party, although she contends she told him the night before. She chides him for not bringing home some wine, while he contends she never told him to do that. However, since the new neighbors are coming to dinner, Joe thinks it gives him the chance to confront them about the late-night loud sex noises they have been enduring since the new couple moved it. Horrified, Angela forbids him to do that, because she wants to try to befriend the neighbors before raising that topic.

Joe and Angela are still arguing when the guests show up. Everything goes wrong from the start, including what Angela planned to serve for dinner and the lack of wine.

Despite the missteps, things start to go better than expected. Joe is distant, grumpy and brutally honest even towards the guests, although he stays away from the banned topic of noise, but surprisingly, the neighbors’ reaction is an unexpected admiration for his refreshing honesty. It turns out Pina is a therapist, a sex therapist actually, and she and her husband Hawk value honesty above all.

The couples seem to be hitting it off, when new surprises emerge. However, Joe and Angela’s tendency to snipe at each other starts to set off Pina, who is outspoken and sometimes even prickly. When Joe takes a swipe at gentle, quiet Hawk, he gets a response he doesn’t expect. To avoid spoilers, we will leave it at that, and just say things go in very unexpected directions, surprising both couples, and the audience as well.

This is adult comedy, but not particularly graphic, more just honest, sometimes embarrassingly so, about sex and relationships. This also is not laugh-a-minute comedy, although it has wit and its farcical side with some laugh-out-loud moments. This is darkly humor to make you think as well. Many of the scenes are so honest and close to the mark, that couples (or anyone who had been part of a couple) may likely to squirm or cringe with discomfort at something familiar. Other moments are more likely to fall outside most personal experience.

THE INVITE, which was a hit at Sundance, is actually American remake of a 2020 Spanish comedy. The original Spanish film, THE PEOPLE UPSTAIRS. was an adaptation of Cesc Gay’s play and has been called an adult comedy for its focus on sex and relationships, although it is more frank talk that visually graphic. The original Spanish film also sparked French, Swiss, Italian and South Korean remakes. The Spanish film’s script was written by the playwright but this remake was written by Rashida Jones and Will McCormack. A planned 2023 version, with different cast and director, didn’t get off the ground before this present one.

The American comedy shows those origins as a play, by largely taking place in Joe and Angela’s apartment, apart from an opening sequence that sets the story firmly in San Francisco. Despite that bit of staginess, the comedy is intelligent, darkly funny and often uncomfortable as it fearlessly explores issues of relationships, sex and marriage in an adult way. The discussions are frank and adult but the film isn’t graphic. The original Spanish film was so good, there are also French and Italian remakes as well.

The major highlight of this smart comedy is the showcase it provides for this excellent cast, who relish the sharp dialog and its fearlessness in tackling uncomfortable subjects. The whole story takes place in Joe and Angela’s spacious, comfortable apartment, with the attractive setting contrasting with Joe’s palpable anger and despair about his life and Angela’s misdirected compensation for frustrations. The film runs a bit too long, sometimes lingering with a particular fight before it introduces some table-turning twist.

Still, the actors’ excellent work and intelligent, realistic way the script deals with relationship and life issues, makes this dark, biting comedy worthwhile, especially with its glimmer of something hopeful at the end. Long married couples and those who have experienced divorce or death of a spouse will find things that resonate emotionally here. It is a film that leaves you with something to think about, which seems like a good thing.

THE INVITE opens in theaters on Friday, July 10, 2026.

RATING: 3 out of 4 stars

GAIL DAUGHTRY AND THE CELEBRITY SEX PASS – Review

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

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

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

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

3 out of 4 stars

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