Tag Archives: Comedy

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

TOY STORY 5 – Review

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Summertime is truly “funtime” once more at the multiplex because several dear old childhood pals have returned for a brand-spanking-new adventure. Now it’s not the Avengers or those “furious-fast fellas”, either. You see, this ‘team’ has been entertaining us in theatres for over thirty years now, so original fans are introducing them to their offspring. They’ve really been through a lot (the warranty has lapsed long ago), but this may be their biggest challenge yet, one that many parents are dealing with: the “screens”. And isn’t it somewhat ironic that the first big CG animated heroes of movie features are tussling with “tech” in TOY STORY 5? Double that since this comes to you from one of those dreaded “devices”.


Strangely, this installment actually starts on what appears to be a deserted island. A cargo ship has washed ashore, spilling its contents all over the beach. Why, it’s an army of the new “tech-enhanced” versions of Buzz Lightyear. As these confused Space Rangers attempt to return to civilization, the location switches to the bedroom of sweet, shy lil’ Bonnie (voice of Scarlett Spears) as she stages a big wedding involving nearly all the toys that were gifted by Andy (from TS 1-3). It’s fun, but the toys’ leader, Jessie (Joan Cusack), along with her smitten admirer, the original “low-tech” Buzz (Tim Allen), are concerned that she’s not making many friends, including the twins that moved in across the street. Bonnie’s parents share their worry and try to help by bringing home a new plaything, a game-filled children’s “first computer” called Lilypad (Greta Lee). It quickly becomes apparent that this “device” has become the pre-teen’s obsession, taking away all “playtime’ with the toys. After deputizing Buzz, Jessie puts in a call to the AWOL (from TS 4) Woody (Tom Hanks). But Lilly has her own agenda, and connects Bonnie with her dance classmates, who invite her to a sleepover. In an effort to tag along, Jessie and Bullseye the horse end up at a reminder of Jessie’s past heartbreak. Meanwhile, a confused Woody reunites with his pals and joins Buzz in a battle of wills with Lily. Can the gang finally get back together and triumph over the tech, or will they get “boxed up” and forgotten as Bonnie is swayed by the “screen”?

Yes, those rumblings online prove to be true: this is Jessie’s story. So, let’s let out a most appreciative yodel to the wonderful Ms. Cusack, who deftly mixes spunk, snark, boisterious energy, and sweet sentiment to everybody’s (this’ll grow the fanbase) favorite ginger cowgirl. Of course, it helps that the story builds on one of the greatest scenes of the series, the “backstory” of her first “kid,” Emily. It’s no wonder that “Andy’s gang” flourishes with her as the new “sheriff”. It’s great that Jessie has much more depth here than in the last installment, which also goes for her romantic “pardner'” Buzz. Allen brings some of that original bravado tinged with trepidation as he struggles to find the “right moment” to express his feelings. And, of course, Hanks is terrific as the more “mature” Woody, complete with poncho and “bare” pate spot. As for the new additions, Lee as Lily, has a soothing “singsong” quality which gives a great passive-aggressive tone to her “burns’ and boasts about “hooking” Bonnie. Spears melts our hearts as Bonnie, and is a sweet “play pal” to another “newbie” Blaze, given a rowdy tone by Mykal-Michelle Harris. But the most interesting and funniest new “old” toy (he’s a big “plot propeller”) is Smarty Pants, a friendly old school low-tech “potty-trainer” blessed with the sneering sarcasism and caustic comic timing of Conan O’Brien. In such an impressive ensemble of talent, he might be the supreme scene-stealer.

Though he’s been part of the screen stories for all of this series, this film marks the first to be directed by Andrew Stanton, sharing the “chair” with McKenna Harris (both wrote the script). This duo expertly balances the comic interplay with the characters with a whole lot of heart (again, Jessie’s history, along with Bonnie’s “social challenges”) along with a rollicking adventure structure (the ole’ heroes’ journey). While many fans have slammed Pixar for “falling back” on sequels (hopefully this year’s successful HOPPERS silenced some of the most vocal), here they’ve found a great way to return to the “toy box” via an important message concerning a current parenting quandary. The “screens” are dazzling the toddlers, so how does this affect personal interactions? The filmmakers have crafted a timely tale that addresses this, while never preaching, and promoting a balance. Plus, they’ve given a new “spin” on the usual “villain” tropes of the series (Sid in #1, Al and Pete in #2, Lotso in #3, and Gabby Gabby in the last one), so they avoid a “retread” and allow for an engaging redemption arc. Of course, the animation is splendid with expert physical acting, wonderful character design (even the minor humans and animals), and superb background renderings from suburbia to a lush ranch, with a tropical ‘stopover”. While many early viewers have stated that this is the best of the franchise (it doesn’t match TS2, though that’s an incredibly “high bar” to surpass), it is true “family entertainment” of the highest quality (miles from a “churned out” “cash-grab”). The artisan wizards of Emeryville have dazzled us once more, bringing wonderful wit and relevance to the beloved movie icons that “started it all” way back at the end of the last century (whew) with TOY STORY 5. Now that’s some quality “playtime”…

3.5 Out of 4

TOY STORY 5 is now playing in theatres everywhere

POWER BALLAD – Review

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Since the musical biopic MICHAEL is still in the box office top ten, how about another tune-filled flick? The big difference here is that this new release is a fiction film, though many music historians muse about the MJ movie. So that’s where any comparisons end, despite the resemblance to several “real-life rockers” in this endearing “dramedy”. With music. It’s firmly the focus of the story. Luckily, this flick’s filmmaker has racked up a long list of such cinematic “melody movies”. But will he break his winning streak (with “niche” audiences and lots of critics) with a story concerning a “creator-questionable” POWER BALLAD?


And, appropriately, we meet a man by the name of Power in the film’s opening scene. That’s Rick Power (Paul Rudd), a pop star with a few modest singles decades ago. But those were the “Glory Days”. Now he’s the frontman and lead singer for a quartet of middle-aged musicians who travel through Ireland, entertaining at wedding receptions as “Bride & Groove”. They mainly do “covers” of classics by Tom Petty, the Rolling Stones, and other icons. Still, Rick likes to sneak in his lone hit song from so many years ago, much to the chagrin of his bandmates and the disinterest of the audience. At night’s end, they load up the B&G van and motor home. For Rick, that’s a modest abode he shares with his working wife Rachel (Marcella Plunkett), and high-school-aged daughter Aja (Beth Fallon). Yes, Rick gave up a rocker’s life in the States to move to the “Emerald Isle” for love. B&G’s next gig is quite a step “up” for a couple of reasons. First, they have overnight accommodations in a fancy, revamped castle. And second, they’re told that a friend of the couple, a very recent “boy-band” heartthrob named Danny Wilson, may pop up on stage. And he indeed does, as Danny (Nick Jonas) joins B&G for a Stevie Wonder classic. Long after the reception, Rick takes a stroll on the grounds and is approached by Danny. They enter his plush suite, where they indulge in fine booze, some buds, and a few new tunes for Danny’s first solo album. Into the early morning, the duo jams, with Rick playing some of his own unreleased works. Come the dawn, B&G is back on the road. The two go on with their lives, until…Rick hears Danny’s new smash single while at a shopping mall. Why, “How to Write a Song (Without You)” sounds exactly like the song Rick played for Danny. Ah, but Rick has no proof, as he has no sheet music and can’t locate the sound file on his computer. He becomes obsessed and nearly destroys his ties to his band and family, while getting the “run-around” from Danny’s stateside management, headed by the protective Mac (Jack Reynor). Hearing of a Wilson stateside concert tour, Rick plans a trip there with off-kilter band buddy Sandy (Peter McDonald). Can they confront Danny after his big show? More importantly, can Rick make Danny admit that his “comeback” song sprang from that long-ago, hazy night of music (and “enhancers”)?


It’s another big audience-pleasing performance by the “ageless” Mr. Rudd. Once again, he’s the affable everyman hero, a good, honest “Joe” we’re immediately rooting for, even when he’s at his lowest ebb (and things get dark for a bit). It helps that Rudd embraces a “team player’ spirit, whether he’s with his family or fellow bandmates. Sure, we heard him sing a bit of “Afternoon Delight” in a classic comedy, but we haven’t had a real taste of his musical “chops” till now. And in previous flicks like ROLE MODELS, I LOVE YOU MAN, and even DINNER FOR SCHMUCKS, Rudd is part of a great “bromance”, tis time with “for real” pop star Jonas as Danny Wilson (nice inside “naming job” as this was the title character in a late 40s Sinatra film). He’s got a nice. low-key, unaffected vibe, especially as he finds a kindred spirit/mentor in Rick. DW’s in need of a guide during this crucial career crossroads. Jonas also has great chemistry with Havana Rose Liu (so good in a larger role in last week’s TUNER) as Danny’s adoring girlfriend in a couple of brief but pivotal scenes, as she is the inspiration for that big, perhaps borrowed, hit single. Another essential part of the Wilson “machine” is Reynor as Mac, a great pal and cheerleader who’s also his “defense” against those who would con or exploit him. On the Power home front, Plunkett is a strong, steady co-parenting partner who’s also supportive but knows when to step in or step back. Fallon also hits all the right notes as daughter Aja, who delivers some memorable quips, particularly when she tells her Dad what young women really want in life. Quirky comedy relief is provided by co-screenwriter McDonald as the loyal, often dense Sandy, whose “filter” always is on the “fritz”.

As you may have guessed, the filmmaker in question is the multi-talented John Carney, who co-wrote the script along with composing several songs. And yes, this is a great companion to his impressive roster of musical movies, ONCE, BEGIN AGAIN, SING STREET, and FLORA AND SON. Here, Carney really does a deep dive into the creative process with the compelling Rick and Danny “all-nighter”, and as DW prepares for his big concerts. We’re also given a small peek inside the ever-changing music industry, as Danny strives to avoid Rick’s career pitfalls while starting a solo legacy. And like his previous works, Carney gives us a great batch of warm, endearing characters who mount a formidable “charm offense” led by Rudd. Plus, we get lots of “throwaway” bits, from the exchanging glances at the big castle event (somehow both disgust and lust), and the Power home dynamic (Aja trying to quietly move past Papa’s studio room). And, as with his previous films, Carney projects such a wonderful humanity, with no real “villains’, yet still not allowing the story to seep into sugary sweet sentimentality. Everyone’s trying their best to get through life while dealing with past missteps. And the tunes are pretty great, too. So, if you need a breather from the big Summer blockbuster onslaught, take a melodic trek into the “old sod” for a toe-tapping lyrical fable that is also a POWER BALLAD. And maybe Rudd will join those Jonas Bros for a “set” very soon.

3 Out of 4

POWER BALLAD is now playing in theatres

OBSESSION (2026) – Review

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Hey, I know we were just there last month with LEE CRONIN’S THE MUMMY, but don’t you feel like making another visit to the “guys and ghouls” that reside at that creepy ole’ “Blumhouse”? Now, I’m not referring to an actual piece of decrepit real estate, but rather a movie production company that’s known mainly for cinematic terror tales, much like Hammer and Amicus over in the UK so long ago. This time out, they’re dipping into a bag of magical “thingamabobs” for a cautionary tale with a sardonic and very black sense of humor. So forget that dusty monkey’s paw and toss out the Arabian lamp, because this “deliverer of all desires” just may become your new OBSESSION. But, as the saying goes, “be careful what you wish for”. Very, very careful…

In the opening scene, we meet the story’s main protagonist, the morose, brooding “Bear” (Michael Johnston). He’s on a most precarious mission, not a big heist or a quest for treasures. No, he’s desperate to escape the “friend zone” in order to start a serious romantic relationship with his music store co-worker Nikki (Inde Navarrette). Bear just has to find the perfect moment to make his case. Perhaps it will be tonight after some bar trivia with two other “retail slaves”, Ian (Cooper Tomlinson) and Sarah (Megan Lawless). Oh, but a “pet emergency” has him backing out when he talks to Nikki on the phone. Bear hears some racket on her end, and Nikki says that she just accidentally dropped her crystal necklace down a drain. Ah ha! This could provide an “in.” Bear runs down to the “new age” trinket store for a replacement. But something else catches his eye. It’s a weird “Tchoksy” called “One Wish Willow”. This “old timey” toy guarantees that your wish will be granted after breaking it in two (it’s a wand-like wooden stick). At the end of the trivia night, Bear gives Nikki a lift home from the pub. And he botches his “pitch”. After an awkward goodnight, she heads toward her door. His frustration pushes Bear into giving this “new-old” toy a try (a “break”, really). He wants her complete and consuming love… and Nikki stops in her tracks and returns to his car. From then on, they’re a nearly inseparable couple. But Ian and Sarah think they’re also insufferable. Nikki begins to undergo a huge personality change, lying about her family and exhibiting even more extremely disturbing behavior (some odd culinary creations, for one thing). Yes, she is obsessing over him, hence the title. A desperate Bear calls the 800 number on the OWW box. The odd fella at the call center tells him that there are no “take-backs.” The only way to break the “wish” is for the “wisher” to die! Talk about an unbearable dilemma (sorry ’bout that)!


I suppose the main focus of the story is the “audience surrogate” Bear, played with a twitchy awkwardness by the energetic Johnston. He’s something of an “everyman”, full of yearning, but little confidence. It takes Bear a while to realize the full impact and awful consequences of his actions, but when it “kicks in,” Johnston is a sweaty ball of pure panic. But the film’s real “breakout” star is the amazing Ms. Navarrette, who impressed me for the last few years as Lana Lang’s daughter Sarah on the CW’s “Superman and Lois”. Oh, she has made the leap to the big screen with a gonzo, “go for broke” tour de force performance as the bewitched Nikki, a “dreamgirl” who suddenly becomes a nightmare. The switch in vocal intensity and her incredible physical contortions (and those rubbery facial expressions) earn her a spot in the loopy ladies of terror “hall of fame”, right next to Glen Close as Alex of FATAL ATTRACTION and Jennifer Jason Leigh’s Hedy in SINGLE WHITE FEMALE. Yet, somehow, Ms. N conveys Nikki’s tragic fate behind the frozen smiles (best shown during a nocturnal plea). To think she was the “sweetheart of Smallville”. Much of the standard comic relief is provided by Tomlinson as the party “bro” who is not quite the supportive “wing man” that he projects. Lawless exudes a tenderness behind the tough-talking punk chic stylings of the concerned and sympathetic Sarah. One of the more pleasant surprises is the supporting turn by a beloved TV comedy icon as the quartet’s befuddled boss (IMDB lists him, but I just can’t bring myself to spoil it).

It’s tough to believe that this is only the second feature from writer/director Curry Barker, as this is one terror tale brimming with confidence and a wonky style. And, perhaps due to his stand-up comedy past, a wicked sense of humor, from snarky satire to silly slapstick. Sure, we’ve gotten many variations of the “wish fulfilled” themes of regret, but Barker’s put a fresh spin in them, while harkening back to the “can men and women be friends” issues of WHEN HARRY MET SALLY (miss ya’ Rob) and even ALADDIN (Robin’s Genie can’t zap Jasmine into loving that “strett rat”). Barker also captures the intense “forced bonding” that occurs with “workmates”, especially those in their early 20’s. It’s a snarky sneer at old romcom cliches, even down to the “falling in love” montage (love the eyeroll from Sarah). Although the marketing gurus give away too much in the ads, this off-kilter, creepy romp still has lots of surprises and delivers on the scares with a sense of hopelessness and dread from one selfish little act. It’s just a shame that the film doesn’t quite “stick the landing” as the last act feels too rushed and the ending denouncement falls a bit flat (I want to stay with the duo for a few more minutes). Even with that caveat, those horror fans who have missed the mirth in the macabre may or may not be obsessed, but they should be entertained by OBSESSION. I wonder if they tried to get the rights to that old Jiminy Cricket tune?


3 Out of 4


OBSESSION opens in theatres everywhere on May 15, 2026