Tag: Dakota Johnson

MATERIALISTS – Review

Dakota Johnson and Pedro Pascal in Celine Song’s MATERIALISTS. Photo credit: Atsushi Nishijima. Courtesy of A24

Does money matter in matters of love? Well, historically it has but if that is all that matters, then there is a problem. Dakota Johnson plays a modern matchmaker in New York City, working for a company that caters to affluent clients, in director/writer Celine Song’s in the romantic comedy MATERIALISTS. But MATERIALISTS is no typical rom-com but a smart, thought-provoking social commentary on love and materialism. Celine Song’s previous film, PAST LIVES, was a drama that thoughtfully and realistically explored how cultural differences and time impact romance, and the director turns that same insightful, honest style to a look at love and money through a more humorous but still thinking lens.

MATERIALISTS actually opens with a Stone Age man bringing flowers and useful tools to woo the cave woman of his dreams, an early materialist, but quickly flashes forward to present-day New York City, where matchmaker Lucy (Dakota Johnson) is strolling down the street when she spots a nice-looking, prosperous looking young man. She asks if he is single, and then gives him her business card, just in case he’s looking for the services of a high-end matchmaker.

He takes the card. This direct approach tactic works in part because Lucy is herself young and beautiful, but Lucy in not looking for love herself. In fact, she tells a co-worker that she is planning to stay single and “die alone” (a phrase we hear frequently throughout this film, and only an extremely rich man might tempt her to change her mind, revealing a hard-eyed materialist bent.

There is a lot of this materialist bent among her clients, who turn to this service to find candidates who match their criteria before taking a chance on falling in love. Lucy is successful at her job in part because she understands this and gently guides them to potential matches. Her job involves recruiting new clients like in that first scene, matching client’s backgrounds and interests, but also serving as a kind of therapist guiding them towards marriage. When a matchmaker at her firm, Adore, makes a match that results in marriage, the whole office celebrates the win.

Lucy has just made such as match, and of course she’s invited to the wedding. While she is pleased with the success and takes care of all her clients, some clients touch her more than others. Her current favorite client is Sophie (Zoe Winters), a sweet woman in her late 30s who has not yet found her perfect match. One thing Lucy likes about Sophie that she is realistic about potential matches, something not true for all her clients, some of whom have extensive wish-lists like they are ordering a custom-designed car instead of hoping to meet a romantic match.

Sophie has just come off a date the night before, and all sounds good from her end, but when Lucy calls the man she went out with declines a second date based on superficial things. Lucy has to both gently break this disappointing news to Sophie and find another date for her, which Lucy does with both skill and compassion, letting us see her warm heart and why she is so good at this job.

At the wedding of her successfully matched client, Lucy meets a man, Harry (Pedro Pascal), the brother of the groom, who is impressed with her success. Lucy offers her card and matchmaking services, but the brother already has a date already in mind – the matchmaker herself. Lucy tells her she ‘s not in the market, but agrees to see him, hoping to gain him as a client by convincing him she is not the match her needs.

While Lucy and Harry chat at the wedding, a server with the catering company walks up – her ex-boyfriend John (Chris Evans). She warmly embraces him and they agree to meet after the wedding to catch-up, before John goes back to work. Harry is taken aback a bit by the exchange but he doesn’t leave, and sets up a meeting with Lucy at a restaurant. A meeting to her, a date to Harry.

A flashback scene gives us the story of Lucy and John’s break-up, in which we learn he is a struggling actor, taking catering jobs between acting ones, and that his perpetually broke-ness is a big reason for their break-up.

Having set up this uneven romantic triangle, MATERIALISTS follows that romantic tale, as well as Lucy’s work with her clients and particularly that favorite client Sophie, and plot line that illustrates some of the downside and risks in this kind of arranged dating.

One of the strengths of MATERIALISTS is excellent dialog, which is remarkably insightful and realistic, as it was in Song’s previous film PAST LIVES. The well-written dialog helps lifts this film far above the usual romantic comedy, making it intelligent, honest and thought-provoking in a way you don’t expect in this genre. Not that MATERIALIST isn’t funny – it definitely is – but the humor is more sly, more satiric, and filled with social commentary on a society obsessed with the surface of things and people more that what is underneath.

A lot of the humor comes out how transactional everyone, or nearly everyone, is in their pursuit of the perfect love match. Some of this is both laugh-out-loud funny, and a bit chilling underneath, or even sad. Some clients try to game the system, with plastic surgery and other interventions, fudging facts, or comically ridiculous assessments of one’s own value in the dating “marketplace.” These things range from the silly to the sad, as the clients compete, as if love is a game where keeping score matters.

Dakota Johnson turns in what may be her best performance so far, as a woman who seems coolly in control of her own romantic life – mostly – yet is warm, human and soothing with her clients. She maintains this smooth, comforting surface most of the time, but dies eventually becoming exasperated with a few of clients with unrealistic expectations, reminding them they are looking for a human being, not ordering a custom car. Likewise, Pedro Pascal does well as the wealthy man who strews material temptations in the matchmaker’s path, while we remain unsure of the depth of his feelings, even if marriage is his stated goal. As John, Chris Evans continues to prove his skill as an actor, following up his amazing performance in A DIFFERENT MAN, with this thoughtful one, a man whose feelings aren’t in doubt but whose life seems a mess that he may not be able to fix.

The film does not directly mention traditional matchmaking, which many cultures have followed for generation, versus falling in love with someone unaided, and hopefully sharing values and dreams with them. But MATERIALISTS does explore some pitfalls of this modern form of matchmaking, where only a certain amount of information can be known about the character and background of potential matches, unlike the traditional form where, ideally, both parties are part of a community of which the matchmaker is also a part, and the depth of knowledge of each individual is much greater.

MATERIALISTS is a smart, pointedly-funny romantic comedy, with terrific dialog and a non-traditional plot, that offers a frank yet fascinating look at the ways of love, from a perspective where the practical and the magical need to be a certain balance to find true love and then true happiness.

MATERIALISTS opens in theaters on Friday, June 13, 2025.

RATING: 3.5 out of 4 stars

DADDIO – Review

Dakota Johnson as Girlie, Sean Penn as Clark in ‘Daddio’ Image: Phedon Papamichael. Courtesy of Sony Pictures Classics

Sean Penn and Dakota Johnson star in a two-hander that takes place in a New York City cab, as cabbie Penn drives a young passenger (Dakota Johnson) to her mid-town home from the airport. Along the way, they engage in a witty, sharp back-and-forth conversation, where the beautiful young woman holds her own against the talkative, opinionated older cabbie. Their conversation is wide-ranging at first but eventually centers on the relationships between men and women. Almost from the start, she is getting texts from her boyfriend, obnoxious horny, drunken texts, that she seems mostly reluctant to engage with. These two very different people, the older cabbie with old school attitudes and a young successful woman, chat, trade views, share secrets in a kind of competition, and so bare their souls to each other, all during one long night-time ride.

The title is unfortunate, and puzzlingly so. Written and directed by playwright Christy Hall, this finely-acted drama may bring to mind the classic BEFORE SUNRISE and BEFORE SUNSET, a wide-ranging, deeply personal conversation that takes place between strangers, but in this case, it is not two young people gradually falling in love but two very different people sharing secrets and thoughts on love. These strangers not only differ in generations but in background and economically. Instead, this conversation is between strangers who not only differ in age but in background and economically. The older taxi driver played by Sean Penn is quintessential New Yorker cabbie, who grew up in Hell’s Kitchen and has the swagger and confidence one expects. He flirts with his pretty young passenger, complementing her that he knows she’s someone who knows how to handle herself and paying her the New York compliment of telling her he can tell she’s a New Yorker. She does indeed know how to handle herself, keeping aloof but trading in snappy banter, all with the confidence of a woman well aware of the effect her beauty has on men and how to navigate through their flirtations. The young woman (who has no name in this drama, and is listed in the credits as “Girlie”) could choose not to converse with this motor-mouth caveman but confidently matches him line for line, which is kind of fun to watch.

That banter is pointed and witty, and sharpened by an underlying sexual tension, on his part. Penn’s cabbie is good at reading people and asking probing questions, and quickly guesses her texting lover is married. The conversation turns philosophical, but then more personal, and the pair start a kind of competition, of revealing secrets and unexpected personal experiences. The revealed secrets creates an equally unexpected bond grows between them.

Eventually, the talk drifts into the differing expectations of men and women when it comes to romantic relationships, and Penn’s cabbie starts to hold forth on what men want from women, different things from wives and mistresses. As he expounds on patriarchy, viewers might want to remind themselves that that the writer/director of this drama is in fact a woman. That ship will right itself when Johnson’s character weighs in, and the contrast between their viewpoints sharpens the tensions in underlying the conversation. Both characters reveal secrets about their past and their personal lives, in the way one might only do with a stranger one never expects to see again.

The conversation is not profound but the banter between them is entertaining, and a rare fine showcase for both actors. Sean Penn, once a heralded actor, as appeared in lesser roles, and has done his off-screen reputation little good from time to time, in recent years but this role serves as a reminder how good an actor he really is. Likewise, the role gives Dakota Johnson a chance to show

off her considerable acting chops, something not revealed in recent lesser roles.

The acting and the script are both strong, which they have to be for this kind of drama, but writer/director Christy Hall also keeps things visually interesting, not small achievement for a story that all takes place in a cab, apart from brief scenes at the start and end. We see inside the cab and outside it, but rarely the whole thing. Instead the shots are mostly tight, and largely point of view for either character. The focus is more often on Dakota Johnson’s character, and often in extreme close-up, particularly of her eyes. We get shots of her view out the windows, of the cabbie through the glass, close-ups of his hands as his fingers drum on the steering wheel. The varied and tight shots keep the film more engaging visually than one might expect. Rather than forcing the drama to “open up,” the film keeps things close in and focused, which does more to make it less stagy than added exterior shots would have.

Curiously, Dakota Johnson’s character has no name, although she is clearly the major focus of the story, more than Sean Penn’s talkative cabbie). Penn’s character gives his name as Clark, a name he clearly does not feel comfortable with, and says he prefers Vinnie, although we are sure no one calls him that. We get insights on both characters, their inner lives and past experiences, but the overall theme is romantic relationships rather than something broader. It’s universal, sure, but it also makes the whole discussion feel less significant than it could have been.

Overall, DADDIO is an interesting, somewhat sexy, conversation that becomes a pas de deux between two gifted actors playing people who are very different from each other but still find a human bond nonetheless, in the course of a long taxi ride home.

DADDIO opens Friday, June 28, in theaters.

RATING: 2.5 out of 4 stars

Dakota Johnson in DADDIO. Image: Phedon Papamichael. Courtesy of Sony Pictures Classics

MADAME WEB – Review

Hey “True Believers”, is it time for another trip into the Marvel Universe so early in the new year? Well, since the last adventure of the Ant-Man and the Wasp hit the multiplex almost on the same date last year, then it’s “Avengers Assemble” once more. But with a couple of big exceptions. You see, this isn’t a Marvel Studios production, rather it’s Sony “in association with Marvel” (small print on the poster, almost Scott Lang-sized). So, this is another effort by them to “spin-off” Spidey and bring another secondary character from the comics into their very own feature film. Oh, and the others were the “rouges gallery” AKA the bad guys. First, it was VENOM, who got a sequel followed by the disastrous MORBIUS, with KRAVEN “waiting in the wings” (probably sharpening his claws, too). Ah, but this time it’s another hero so Sony hopes that moviegoers will get tangled up in the strands spun by MADAME WEB.


Much like that vampire villain, this “origin story” starts in an exotic foreign land, far from NYC. In the rainforests of Peru circa 1973, a very pregnant Constance Webb (Kerry Bishe)is trying to find a rare strain of spider that can supposedly pass on miraculous powers and healing abilities. But when she’s successful her exploring partner Ezekel Simms (Tahar Rahim) steals it after shooting the whole research party and leaving Constance clinging to life. Luckily, the “spider-enhanced” local tribe retrieves her and delivers the baby before she passes away. Spring ahead to 2003 in the Big Apple as paramedics Cassie Webb (Dakota Johnson) and her partner Ben Parker (Adam Scott) respond to a traffic accident over a river. Cassie is trapped in a car that plummets into the water. Before she passes out she has a strange vision of light strands, and “ghost images”. Cassie awakens after Ben revives her. But the visions haunt her, and they happen again on a call as she sees a foreshadowed tragedy. Meanwhile millionaire Ekekel has nightmares of his own death at the hands of three costumed young women. He harnesses the powers of the rare spider to track down the trio, all high school-aged women. And somehow they all converge at Grand Central Station, just as Cassie is buying a ticket. On the train she sees a black-clad assassin kill them. But suddenly she snaps back and realizes these are images of what can happen. So Cassie goes into action to save Julia (Sydney Sweeney), Anya (Isabela Merced), and Mattie (Celeste O’Connor). Later the quartet is on the run from the arachid-like crawling killer, with Cassie as their “den mother”. Can she keep them safe? And what is her connection to their super-human hunter?

In between the big “evade and escape” action “set pieces” the cast does their best with their unevenly written roles. At the forefront is Ms. Johnson as the constantly evolving Cassie. We see her disconnect from humanity in the opening scenes (scoffing at a kid’s “thank you” crayon art), only bonding with her ambulance “side” man. Johnson shows her confusion as the “awakening” of her destiny forces her to become “engaged”. Ultimately she veers from nurturing “mama bear” to snarky “iron fist” as she gets her “gals” in line. Still, she doesn’t quite have the dynamism to convey the heroic leader mantle. Her “flock” are mainly teen flick cliches, though the actresses try to put a fresh “spin” on them. Sweeney upends her TV (and recent rom-com) persona as the timid, hesitant Julia, who begins to blossom around her new “sisters”. O’Connor is all sassy attitude as the pop tune-loving, skateboarder rich kid Mattie. As the dark, brooding but brilliant Anya, Merced brings a bit of soul to the often undefined neighbor of Cassie (Queens isn’t that small). Rahim gives good physical energy to the snarling, growling Ezekel who mainly barks threats when not suppressing his nightmare visions, and walking barefoot through the subway. Scott provides some much-needed humor as the confused but concerned “work buddy” Ben. Two terrific young actresses aren’t given much to work with in near-cameo roles. Emma Roberts is Ben’s expectant sister-in-law Mary who figures into the big finale, while Zosia Mamet is stuck at the computer monitors (yes, a spin on “the guy in the chair”) as Ekekel’s tech “tracker” Amaria.

In her feature film debut, TV director S.J. Clarkson works hard to get the pace taut while delving into the personality of Cassie Webb, but the sophomoric script derails her efforts. It all plays out as a superhero spin on the Terminator series, with Ezekel as the nearly indestructible seeker springing up to “jump-start” the sluggish plot and distract from the limp dialogue. He’s almost a spider-stalker, although he’s not spinning or swinging on web strands like our pal Petey making him look like a big silly black rubber frog as he jumps from buildings to the hoods of cars. Speaking of that, what kind of car can plow through the front of a building and drive off with merely a buckled hood? And that’s just one of the oddball story turns that rival the “skating on oil” ARGYLLE scenes. It’s tough to compellingly convey Cassie’s “power” as it’s really a barrage of “fake outs” to set up the big stunts, which become somewhat tedious, as does the bickering between the quartet. Oh, the tension is broken up so that Cassie can “dump” her charges on Ben in order to fly off for an absurd cave pool “therapy session”. I’m not spoiling things, but I should warn them about the “bait and switch” from the movie marketing team because these heroes only “suit up” for a minute or so of the nearly two hours. Ah, but there’s plenty of time for “in your face” product placement for that “other cola”. Plus, there are no bonus credit scenes, though the ending almost pleads for a follow-up franchise. There’s little chance of that since this initial entry should effectively squash the “spider sisterhood” led by MADAME WEB.


1.5 Out of 4


MADAME WEB is now playing in theatres everywhere

MADAME WEB First Trailer Drops And Stars Dakota Johnson

MADAME WEB opens in theaters on February 14, 2024.

“Meanwhile, in another universe…” In a switch from the typical genre, Madame Web tells the standalone origin story of one of Marvel publishing’s most enigmatic heroines. The suspense-driven thriller stars Dakota Johnson as Cassandra Webb, a paramedic in Manhattan who may have clairvoyant abilities. Forced to confront revelations about her past, she forges a relationship with three young women destined for powerful futures…if they can all survive a deadly present.

Directed by SJ Clarkson, watch the first trailer now.

MADAME WEB stars Dakota Johnson, Sydney Sweeney, Celeste O’Connor, Isabela Merced, Tahar Rahim, Mike Epps, Emma Roberts, Adam Scott

Listen to Dakota Johnson talk about the film below.

Cassandra Webb (Dakota Johnson) in Columbia Pictures’ MADAME WEB.

CHA CHA REAL SMOOTH – Review

Adventurous filmgoers who are looking for a bit of a break from the onslaught of Summer blockbusters may wish to take in this tale of a very different kind of cinema protagonist. And if you’ve just completed college, well then you may identify with this character. He does harken back a bit to the title hero of THE GRADUATE, though his problems aren’t quite as catastrophic. Still, he’s at a crossroads, not sure which trail to pursue. And this somewhat odd title, well it refers to one possible path. Or, to build on the dance metaphor, it’s a lucrative side “hustle”. For a fella’ that’s “flailing about”, he wishes his life was confident like the lyric CHA CHA REAL SMOOTH.

That “fella'” is Pittsburgh native Andrew who is a smitten pre-teen when we first meet him. He’s at a pal’s Bar Mitzvah with his gaze focused on the lovely twenty-something lady who’s the party director (getting the kids to dance, starting group games, etc.). As she gets into her car to leave the festivities, Andrew rushes over to “take a chance”. Luckily his ultra-supportive mother (Leslie Mann) is there to comfort her crushed boy on the long ride home. Cut to today, about a dozen years later as Andrew (Cooper Raiff) is still “partyin’ hard’ on the dance floor with his now graduated college pals. And he’s again focused on a lady (though more “age-appropriate”) who’ll soon be off to Barcelona to complete her studies. Andrew insists that he’ll soon join her…well, maybe not so soon. He spends his days as the very board “counterman’ at a mall eatery, “Meat Sticks”. But he’s saving a bit as he’s still living with his mother, though a lot has changed since the opening scene. He shares a room with his twelve-year-old brother David (Evan Assante) and Mom has a new hubby, an uptight business exec the guys call “Stepdad” Greg (Brad Garrett). When Andrew learns that David has been invited to the Bat Mitzvah of the kid sister of his high school crush Macy (Odeya Rush) he insists on being a chaperone. At the banquet hall, Andrew’s attention drifts from Macy to a young mother with her very shy daughter. While trying to liven up the dull event, he makes his way to their far-off corner table. The mother is Domino (Dakota Johnson), who’s trying to socialize her autistic daughter Lola (Vanessa Burghardt) since she’s just gone from home-schooling into the public school system. There’s a definite connection between the trio, even as some of the “mothers” corner Andrew in the parking lot. A couple of them want to hire Andrew to “help’ at upcoming Mitzvahs. He comes up with a job title, “Jig Conductor”, and sets out to promote himself via social media. Happily, Andrew crosses paths again with the mother/daughter duo. And though Domino tells him that she has a fiancee (a lawyer who’s on a case in Chicago), there could be a romantic spark. Since his long-distance college GF is posting Facebook pics with a foreign hunk, maybe…if there’s a chance…ya’ know?

So , the movies have a new triple threat in the talented Mr. Raiff, though he has created one previous feature, the bluntly titled (I’ll clean it up) S#*THOUSE. But this one can easily be placed on a marquee, so we can say this is his breakthrough project as he juggles screenwriting, directing, and acting in the lead role. And somehow he keeps ‘all the plates spinning”. His Andrew is an appealing everyman, full of charm as he encourages the underdogs, particularly his lil’ bro and Lola. But often Andrew really tests us with rash, even acts of self-sabotage, though we’re still rooting for him. Even as he navigates a complicated relationship with Domino, played with by the sultry, but very sensitive Johnson. Perhaps more than Andrew, she’s conflicted over her choices, wanting to break away from her wild youth and become “responsible” to her fiancee and create a solid home for her daughter. This isn’t her ditzy 50 SHADES persona, but rather a more fleshed-out take on her restless spouse in THE LOST DAUGHTER. Domino sees Andrew as a way back into her carefree party days and fights her need to capture his eager spirit. Both Johnson and Raiff have great chemistry with each other and the film’s most remarkable discovery, Burghardt, a real autistic actress who brings a real warmth and an engaging wit to the “on the spectrum” Lola. She draws us into her world (much as with Andrew) and touches us with her gradual acceptance of her new friend. Mann is compelling as the family matriarch who must deal with some big personal issues (a bipolar condition) while keeping her focus on her two boys. Assante grabs our hearts as that youngest son who really needs the advice of his big brother and best pal as he goes through the confusion of first love. Rush is terrific as Andrew’s former “second love” who peels away the armor of being her high school’s adored “queen”.And let’s not forget the comic kingpin Garrett who somehow makes the uptight, rigid (“We don’t use that language at the dinner table”) stepfather engaging and somewhat sweet.

That last word may best encompass the overall feel of this, I’ll say it, “feel good” film fable. Raiff directs with a real eye for performances, knowing when to linger for a reaction, and when to cut wide to take in the atmosphere. There’s the intimate glow in the homes of Andrew and Domino (actually Joseph’s parents’ old house) contrasted with the soul-sucking brightness of the “Meat Sticks” retail Hellscape, which is the opposite of the “glow-stick” glare of the “party rooms”. The weird and funny world of the Mitzvahs would make an engaging film on its own with its not really cohesive mix of religious ceremony and youthful social explosion. Here it’s a fascinating backdrop to the odd dance of Domino and Andrew. We’re invested in them as we consider if they or anyone in their intense orbit will get their hearts smashed to bits. This is a most entertaining exploration of the tenuous steps that many folks cautiously take toward adulthood. Luckily there are lots of laughs and love to make us happy to have joined the “dance-line” for CHA CHA REAL SMOOTH. Mazel Tov, Mr. Raiff on the beginnings of a hopefully long cinematic “jig”.

3 Out of 4

CHA CHA REAL SMOOTH opens in select theatres and streams exclusively on Apple TV+ beginning on Friday, June 17, 2022

THE LOST DAUGHTER – Review

OLIVIA COLMAN as LEDA, in THE LOST DAUGHTER. Photo credit: YANNIS DRAKOULIDIS/NETFLIX © 2021.

Olivia Colman gives a gripping, multi-layered performance as an enigmatic middle-aged woman, who seems haunted by her past, in the tense drama THE LOST DAUGHTER. THE LOST DAUGHTER is the directorial debut of Maggie Gyllenhaal, and her decision to cast Colman proves to be a brilliant one, as Colman’s remarkable performance makes the film.

Colman plays Leda, a literature professor who is vacationing alone at a seaside Greek resort. Early on, an awkward phone call with a daughter, who cuts her off abruptly, raises questions about how much of her solitary status is Leda’s own choice.

Ed Harris plays Lyle, the friendly caretaker of Leda’s vacation rental but her prickliness and brisk politeness suggest she is not interested in socializing. She tells people she encounters this is a working vacation, and takes her text books and notebook with her to the beach, settling into the deserted stretch with a satisfied smile. That smile and her calm are shattered by the arrival of a large, noisy family who seem to take over the space.

Colman’s Leda sends mixed signals throughout, of independence and neediness, of pleasantness and meanness. Her prickly demeanor re-emerges when the family intrudes on her solitude, and when one of the women in that large family asks her to move, so the group can all spread out their beach towels together, the professor bluntly refuses. They don’t take her lack of cooperation well, but back off with scowls and grumbling. Later a staff member at the resort Will (Paul Mescal) tells the professor that he admires her courage but warns her the family is “not nice” and she should be careful. Rather than being warned off, Leda now seems drawn to the family, skirting around clearly dangerous territory.

While this tense situation is evolving in the present, we see periodic flashbacks to the young Leda (Jessie Buckely). Ambitious and fighting establish herself as an academic, Leda is also struggling to cope with her two young daughters. Her husband Joe (Jack Farthing) is little help, and her older daughter is demanding and defiant, which Leda does not handle well. It is hardly a picture of domestic bliss and the stress is searing.

Meanwhile, at the beach resort, the young daughter of one of the younger women in the noisy family, Nina (Dakota Johnson), goes missing, triggering a frantic search. At first, the professor seems disinterested but then joins the search by going off to scour remote wooded spots near the beach, although perhaps she is just getting away from the chaos.

The missing girl triggers flashbacks to a young Leda hysterically searching in the surf for her own daughter, while holding the younger of the two. In the present, the daughter is found but now her beloved doll is missing, which launches a new search and a tense, evolving situation, laced with Leda’s complex feelings and her own past.

Director Gyllenhaal’s husband, Peter Sarsgaard, plays Professor Hardy in the flashbacks, an academic star who takes in interest in Leda’s work. The flashbacks and what happens in the present suggest Leda is haunted by unresolved guilt and complicated feelings about motherhood. Leda swings between grief and anger, and does things that leave us shocked and puzzled, unsure if we should pity her or despise her. The play of complex emotions is all over Colman’s exquisitely expressive face, but director Maggie Gyllenhaal gives away little, particularly about the full picture of Leda’s past. The director leaves the audience to wonder, and draw their own conclusions, both about what happened back then and in the film’s enigmatic conclusion.

That vagueness might leave viewers unsatisfied by the end but, regardless, Olivia Colman’s splendid performance is outstanding. Colman remains the major reason to see THE LOST DAUGHTER, given how murky the director leaves things, but it is so compelling a performance that it is worth the lingering questions with which it can leave viewers.

THE LOST DAUGHTER opens Friday, Dec. 17, in theaters and streaming on Netflix on Dec. 31.

RATING: 2.5 out of 4 stars

THE HIGH NOTE – Review

So this weekend brings another new film that’s set in the world of “things we could do three months ago”. Last week it was world travel with Steve and Rob in THE TRIP TO GREECE along with Kristin and Sharon singing in a choral group in MILITARY WIVES. This week the “now verboten” activity in concert-going. Well, that’s really just a part of the flick’s story, but it’s a big part. There are several scenes with one of the characters filling big stadiums and amphitheaters, usually for “one-night-only” shows, and often not knowing the locale (“Good evening…um..where are we?”). Now the story’s main focus is not the chart-bustin’, seat-fillin’ superstar, but their lowly assistant, the “errand-runner” actually. We saw a bit of that in the recent A STAR IS BORN remake, to a lesser degree in the indie drama THE ASSISTANT, and as fodder for TV comedies like “Entourage” and “30 Rock”. And there was LATE NIGHT from last year, which, oddly enough, was from the same director as this flick. So, in this current effort, does she hit THE HIGH NOTE?

Much like the central character, this movie hits the ground running as we observe “star aide” Maggie (Dakota Johnson) embarking on several “morning missions” for her boss, pop diva Grace Davis (Tracee Ellis Ross). “Pick up this” “Grab that” until her now packed to the roof “seen better days” car arrives at the Davis mansion somewhere in Hollywood. In addition to the “pop diva”, Maggie must also deal with long-time, usually surly (oh, can he give the “stink-eye”) talent manager Jack (Ice Cube) and the “dim bulb” housekeeping supervisor Gail (June Diane Raphael), who seems to think that she’s a font of wisdom. Grace is at somewhat of a career “crossroad”. Should she keep playing big arenas around the globe, doing “one-nighters” and belting out the old familiar hits, or should she go with Jack’s idea to hook up with a Vegas casino to be an “artist in residence” and croon the same tunes in the same showroom for several months (maybe a year or two). But Maggie hopes to offer another alternate. In her precious “downtime” she’s been using new software and apps to give her standards a bold “new” sound without “drowning out” her still sharp vocals. Soon she’s got another “side gig” when she “meets cute” the owner of a produce chain, David Cliff (Kelvin Harrison Jr.) who is also quite the pop balladeer. Maybe Maggie can produce some songs with him, if she can keep things “professional” (a big challenge with the charming Cliff). But will this interfere with her work with Grace? Could she make “beautiful music” with both of them?

In a big break from the FIFTY SHADES trilogy, Johnson brings a low-key charm to her “everywoman” role as the often unappreciated Maggie. Her aide role is close to the classic “plate-spinner” act as she tries to keep track of Grace’s itinerary while trying to predict her abrupt mood changes while brushing aside those who would curry favor or exploit her. Johnson gives us the “vibe” that Maggie is forming a “hard shell”, putting on armor, while fretting over losing her own sense of empathy for others. Unfortunately her character is not as compelling or complex as Grace, played with a dramatic flourish by the commanding Ellis-Ross. Sure the comparisons to her famous mother Diana are evident, but Ellis-Ross resists the notion of turning her into a petulant, campy primadonna. The film only comes alive when she switches personas on a dime, from demanding dictator (at a party Maggie spits out a drink when caught in Grace’s icy stare), to gossipy gal pal, to the uncertain artiste, showing her vulnerability as she regrets past choices and faces an uncertain future, being a minority singer of a “certain age”. She’s paired with a great sparring partner, as Cube struts and growls as he presents his talent, but makes sure to get in every photo or video. At times they behave like an endearing but often bickering old married couple. Though he grumbles we know that Jack would do anything for his Grace. Like Johnson, Harrison tackles another real “change of pace” role, coming off his superb dramatic 2019 “one-two-punch” of LUCE and WAVES. His Davis is pure silky-smooth laid-back charm as he flits into Maggie’s orbit. And when he gets to the mike stand, she (and many others) will almost swoon at his charisma wrapped in some powerful “pipes”. As for the rest of the comic support team, Raphael is underutilized as the daft Gail, while Zoe Chao is a very funny encouraging roomie to Maggie. On the male side, veteran Bill Pullman strides in for the final act, while real-life tech music guru Diplo appears to be having a great time skewering his hipster image.

The aforementioned director, Nisha Ganatra, ably conveys the twirling hectic life of a professional “go-fer” in the opening scenes giving us a sparkling “city of dreams” in the often familiar California backdrops (plus Catalina Island looks idyllic in the final moments). And when we’re following in the bedazzling footsteps of Grace, the glow of superstardom is mesmerizing. Unfortunately, the script, from newcomer Flora Greeson, cuts away to the rather limp romantic subplot, along with lots of “sound mix” collages. The Maggie and David courtship fizzles (some chemistry clashes), as we wait…and wait… to get back to Grace and (gone for most of the middle hour) Jack. In the last half, much of the comedy lands with a clunk (and there are some very funny people on screen). And then, in the last few minutes, a twist/curve is sprung on the audience that’s both ludicrous (not in a comic sense) and frustrating, with characters making “off-kilter’ decisions just in order to provide some dramatic conflict. And despite tossing off bits of pop music trivia, and kissing pics of superstars that adorn the hallways of Capitol Records, Maggie never seems plausible as a musical mastermind. Ellis-Ross, on the other hand, feels like the “real deal” although we’re cheated on any full vocals until the near fade-out. Oh, her wardrobe from Jenny Eagan is worthy of a pop queen. Ultimately though, THE HIGH NOTE is one off-key backstage tune. And here comes the hook…

2 Out of 4

THE HIGH NOTE opens in select theatres and drive-ins. It is also available as a Video On Demand on most cable and satellite systems and is streaming on demand via most apps and platforms

WAMG Giveaway – Win FandangoNOW Promotional Code For THE HIGH NOTE Starring Dakota Johnson

THE HIGH NOTE starring Dakota Johnson and Tracee Ellis Ross will premiere at home on demand May 29th.

WAMG is giving away to three lucky winners FandangoNOW Promotional Codes.

To enter: Leave your name and email address in our comments section below.

1. YOU MUST BE A US RESIDENT. NO DUPLICATE ENTRIES

2. WINNER WILL BE CHOSEN FROM ALL QUALIFYING ENTRIES.

No purchase necessary.

This summer’s feel-good comedy about the dazzling world of the LA music scene starring Dakota Johnson, Tracee Ellis Ross, Ice Cube, Kelvin Harrison Jr. and Diplo

Starting on May 29th, The High Note will be available on demand for a 48-hour rental period for $19.99.

Visit https://www.focusfeatures.com/the-high-note/on-demand/

Republic Records and Focus Features announce the release of The High Note Original Motion Picture Soundtrack on May 29, 2020. The soundtrack will arrive the same day as the film, which will be available on at home on demand.

Preceding the arrival of the album, the film’s first single “Love Myself” is performed by Emmy Nominated and Golden Globe® Award-winning actress Tracee Ellis Ross, who stars in the film as recording artist “Grace Davis.” “Love Myself” is available via all digital service providers today.

Listen to “Love Myself”: HERE

Written by Sarah Aarons [Alessia Cara, John Legend, Khalid] and Greg Kurstin [Paul McCartney, P!nk, Céline Dion], “Love Myself” is a pivotal song in the movie performed by Tracee Ellis Ross as “Grace Davis.” This notably marks the first time the actress has released a song, which highlights her dynamic voice as “Grace Davis” and sets the stage for both the record and the film. 

Produced by GRAMMY® Award-winner Rodney “Darkchild” Jerkins [Michael Jackson, Beyoncé],the 15-song Original Motion Picture Soundtrack features new recordings by cast members Ross and Kelvin Harrison, Jr.

Beyond “Love Myself,” Ross delivers stunning performances of “Bad Girl,” “Stop For A Minute,” “New To Me,” and a duet with Harrison, Jr. on “Like I Do.” Additionally, classics from Donny Hathaway, Maxine Brown, and Aretha Franklin as well as the single “Mind Over Matter” by Anthony Ramos round out the tracklisting.

Check out the full tracklisting below.

Experience the music of The High Note now!

The High Note (Original Motion Picture Soundtrack)

  1. Love Myself (The High Note) – Tracee Ellis Ross
  2. Stop For A Minute – Tracee Ellis Ross
  3. Let’s Stay Together – Kelvin Harrison Jr.
  4. Share Your Love with Me – Aretha Franklin
  5. You Send Me – Kelvin Harrison Jr.
  6. Oh No Not My Baby – Maxine Brown
  7. Bad Girl – Tracee Ellis Ross
  8. Track 8 – Kelvin Harrison Jr.
  9. Mind Over Matter – Anthony Ramos
  10. Chemistry – Kelvin Harrison Jr.
  11. Jealous Guy (Live at The Bitter End 1971) – Donny Hathaway
  12. New to Me – Tracee Ellis Ross
  13. Like I Do – Tracee Ellis Ross & Kelvin Harrison Jr.

BONUS

  1. You Send Me (Darkchild Mix) – Kelvin Harrison Jr.
  2. Love Myself (Film Version) – Tracee Ellis Ross
Dakota Johnson stars as Maggie Sherwoode and Tracee Ellis Ross as Grace Davis in THE HIGH NOTE, a Focus Features release. Credit: Glen Wilson / Focus Features

THE HIGH NOTE Starring Dakota Johnson, Tracee Ellis Ross Premiering At Home On Demand May 29th

THE HIGH NOTE starring Dakota Johnson and Tracee Ellis Ross will premiere at home on demand May 29th.

Watch Tracee’s video announcement here .

This summer’s feel-good comedy about the dazzling world of the LA music scene starring Dakota Johnson, Tracee Ellis Ross, Ice Cube, Kelvin Harrison Jr. and Diplo

Starting on May 29th, The High Note will be available on demand for a 48-hour rental period for $19.99.

Set in the dazzling world of the LA music scene comes the story of Grace Davis (Tracee Ellis Ross), a superstar whose talent, and ego, have reached unbelievable heights, and Maggie (Dakota Johnson), her overworked personal assistant.  While stuck running errands, Maggie still aspires to her childhood dream of becoming a music producer. When Grace’s manager (Ice Cube) presents her with a choice that could alter the course of her career, Maggie and Grace come up with a plan that could change their lives forever.

The film is directed by Nisha Ganatra (“Late Night”) from a script by Flora Greeson. It is produced by Working Title Films’ Tim Bevan and Eric Fellner.  The film’s executive producers are Nathan Kelly and Alexandra Loewy.

https://www.focusfeatures.com/the-high-note

Dakota Johnson stars as Maggie Sherwoode and Tracee Ellis Ross as Grace Davis in THE HIGH NOTE, a Focus Features release. Credit: Glen Wilson / Focus Features

THE PEANUT BUTTER FALCON Arrives on Blu-ray and DVD November 12

 The Peanut Butter Falcon arrives on Digital November 5 and on Blu-ray (plus Digital), DVD and On Demand November 12 from Lionsgate.

Emmy® winner Shia LaBeouf (Transformers franchise, Indiana Jones and the Kingdom of the Crystal Skull) stars alongside Dakota Johnson (Fifty Shades of Grey franchise, Suspiria, The Social Network) in “the sweetest darn film of the decade” (Film Inquiry) when The Peanut Butter Falcon arrives on Digital November 5 and on Blu-ray (plus Digital), DVD and On Demand November 12 from Lionsgate. The Rotten Tomatoes Certified Fresh™ film, about a young man with Down syndrome who dreams of becoming a professional wrestler, also stars Oscar® nominee John Hawkes (2010, Best Supporting Actor, Winter’s Bone), Zack Gottsagen (Bulletproof), Oscar® nominee and Emmy® winner Thomas Haden Church (2004, Best Supporting Actor, Sideways), and Oscar® nominee Bruce Dern (2013, Best Actor, Nebraska.) From the producers of Little Miss Sunshine, The Peanut Butter Falcon is “full of heart and packed with humor” (Jeremy Dick, MovieWeb).

The Peanut Butter Falcon follows Zak (Zack Gottsagen), a young man with Down syndrome who runs away from a residential nursing home to fulfill his dream of attending the pro wrestling school of his idol, The Salt Water Redneck (Thomas Haden Church). On the road, Zak meets Tyler (Shia LaBeouf), a small-time outlaw who becomes Zak’s unlikely coach and ally. Together, they set out on a wild, life-changing journey and try to convince Eleanor (Dakota Johnson), a kind nursing-home employee charged with bringing Zak back, to join them.

Bring home The Peanut Butter Falcon and celebrate the adventure while diving deeper into the production with a photo gallery and behind-the-scenes featurette. The Peanut Butter Falcon Blu-ray and DVD will be available for the suggested retail price of $24.99 and $19.98, respectively.

BLU-RAY / DVD SPECIAL FEATURES

  • Photo Gallery
  • “Zack’s Story: The Making of Peanut Butter Falcon” Featurette