Tag: family dramedy

THE WEDDING BANQUET (2025) – Review

Well, here comes another film to reflect the season of love, Spring. We’re in a short “window” in which romance rules the multiplex just as the big noisy Summer blockbusters start to trickle in (hopefully the MINECRAFT chaos and calamity don’t spill into the other screens). Now last week we saw a “first date movie that was also a “thriller-diller” (DROP). And what follows the initial meeting, perhaps much later? The big nuptuals, natch’. As with the former flick, this one is a mix as it can be considered a comedy-drama, or “dramedy’, while also tossing in another element: it’s a remake. And you’re beginning to feel your age when you can recall going to that original film almost 32 years ago. Oh, and some more plot twists are tossed in to add more flavor and a bit of spice to THE WEDDING BANQUET.


Now, the story actually focuses on two couples involved in the title event. We first meet millennial Lesbian couple Lee (Lily Gladstone) and Angela (Kelly Marie Tran) at an awards function honoring PFLAG mother-of-the-year, the latter’s mum, May Chen (Joan Chen). But the evening’s not over after she receives her plaque. The duo hastily retreats to an art show for textile creator Min (Han Gi-Chan), who is the domestic partner of Angela’s old college pal, stockbroker-in-training Chris (Bowen Yang). At the end of the night, the quartet heads back to the home they share, actually, the ladies live in the main house (which Lee inherited) while the men have made the garage their “space”. Things start to change for all of them in the coming days. Min is called into the Seattle branch of his family’s international company for an online chat with his Korean grandmother Ja-Young (Youn Yuh-jung), who, along with her hubby, raised him after the death of his parents. She belives that it’s time for him to return to his homeland to run the family business since his schooling is finished and he has no wife (Min hasn’t “come out’ to his conservative family). Meanwhile the IVF process for Lee and Angela to start a family has suffered another setback. The latest treatment didn’t “take” so Lee has only a couple more chances for motherhood.. Meanwhile Chris rejects Min’s proposal for marriage as he doesn’t want a “green card” wedding and cause Min’s family to disown him. Later, back at the house, Lee and Chris are stunned when Angela and Min hatch a plan. They will get married so that Min can stay in the country while helping to fund Lee’s next IVF try. Min sends word of his engagement to Korea and all seems well…until Ja-Young tells him that she’s boarding the family jet and will be there to meet his fiancée in just a few hours. Can the quartet pull off this ruse in mere hours? And what happens when Grandma insists on staying to attend and plan the big ceremony and celebration?

The many dramatic and comedic moments somehow work seamlessly thanks to the talented quartet at the story’s center. After several heavy tragic roles, Gladstone flexes her humor “chops” as the partner who is set on enduring any medical procedure in order to bring a child into her and her partner’s life. Her Lee is warm and caring, even as she must deceive a few folks in order to see her dream through…up to a point. Sparks fly when she must make a stand and attempt to get Angela to “open up”. In that role, Tran often “shuts down” rather than deal with her disappointments and frustrations, particularly with her flighty mother. Tran is also very funny as she awkwardly dons the disguise of subservient “wifey”, until she gets a chance to cut loose with her ole’ college pal. As Chris, the comic gifts of Yang, so good on SNL, is tempered with the character’s longing to be with his love, while knowing that his passion could cost Min everything, and forcing Chris to push him aside to avoid being a “family crusher”. Yang continues to be the master of reaction shots, from disgust to complete panic, especially when he must hide all the “gay decor, running about as if he were in a zany 1950s sitcom. He’s a terrific counterpoint to Chan as the sweet, somewhat naive artist Min, who doesn’t understand why Chris doesn’t believe that he’ll give up everything for him. There’s also wonderful supporting work from two veteran screen actresses. Welcome back, Ms. Chen (can THE LAST EMPORER really be 37 years ago) as Angela’s brassy, often clueless martiarch who now relishes and exploits her role as the proud “media mom”. And Yuh-jung proves her MINARI Oscar was no fluke as the stern but sweet grandmother who can’t be easily conned. Also of note is the raunchy, funny work of Bobo Lee as Chris’ wild, free-spirited cousin.

Director/screen-adaptor Andrew Ahn takes many of the basic plot points of Ang Lee’s 1993 classic and puts a fresh modern spin on the family dynamics and the alternative lifestyles, though these characters today are much closer to the urban “mainstream”. Ahn makes excellent use of the Vancouver locales that stand in for Seattle, and gives us a superb inside “peek” into the tradition of Asian unions, melding the cultures of Korea and China (those post-event feasts will have you drooling). Most importantly, Ahn’s riff on Ang hits all the right romantic notes as lovers squabble and reunite, while trying to navigate around those still rigid in the “old ways”. The pace is fluid, buoyed by a vibrant soundtrack. And, as mentioned, this exceptional cast never hits a flat or false”note”. Much like the meal itself, THE WEDDING BANQUET is warm, tasty, and very satisfying.


3 out of 4

THE WEDDING BANQUET is now playing in select theatres

FLORA AND SON – Review

Does something magical happen when you create music? Many folks believe that. Perhaps a main proponent of that notion is Irish filmmaker John Carney. He’s illustrated that belief in a trilogy of beloved films: ONCE, BEGIN AGAIN, and SING STREET. And now he’s stretched that trilogy into a “quadrilogy” (perhaps calling them a quartet is more in line with the music themes) with his new film opening this weekend. But this tune-filled dramedy has a “hook” that is almost universal. Here the songs are in service of mending a family. It can’t completely repair this particular family, but it may just bring this single mother and her teenage son a tad closer, so at least they’re not spending their evenings screaming at one another. Adding to the tension is their “hand-to-mouth” existence, being part of the hard-working lower middle class of Ireland. That’s the setting for the story of this dup, hence the title FLORA AND SON.

When we first meet Flora (Eve Hewson), she’s charging into the local pub-turned-disco, at “full speed”, hand in hand with her best “gal pal”. Soon they’re splitting up on the dance floor in search of “after-hours companionship”. And when her “overnight guest” at her shabby apartment hears mention of her son, he practically bursts out the front door ala’ the Kool-Aid Man. Soon we meet that fourteen-year-old son Max (Oren Kinlan) when a local constable comes over to deliver a stern warning about his petty thievery. One more “pinch” and he’s in the “system”. When the “bobby” leaves, the two begin their regular “screamfest”. Flora is not getting any help from Max’s dad, Ian (Jack Reynor), a former rock bassist who’s now sharing a nicer pad with his wealthy new girlfriend, though Ian gets Max on most weekends. Hmm, Max has inherited his pop’s musical interests, though Max is more into rap and techno-pop. When Flora sees a beaten-up guitar sticking out of a dumpster, she grabs it, has it repaired, and gifts it to Max as a belated birthday present. And…he wants no part of it (cue another nasty “row”). But it grabs the interest of Flora, especially after seeing a singing competition sign outside a nearby bar. Now she’s got to learn to play it. After viewing countless video pitches for online lessons, she settles on a hunky, “mellow dude” from the States, Jeff (Joseph Gordon-Levitt). After an awkward first session, the two begin to connect through the “web”. Could this become more than a “teacher/student” rapport, even though he’s thousands of miles away? And what of Max? Could music mend the estranged mother/son bond? More importantly, could this shared passion keep Max on the “straight and narrow” and out of the detention facility?

She’s the first name in the title and really the first person on screen, so I’ll start off singing (not as nicely as the leads do) the praises of Ms. Hewson as the delightfully shocking, sometimes abrasive, and always unpredictable Flora. She provides the pulsing beat to this story as we watch her fighting the courts, her friends, her ex, and her own inner insecurities. Hewson perfectly captures Flora’s “take no prisoners’ stance, but she also shows us how this “tough mama” tries to onceal her worries and concerns, especially for “and son”. I’ll get to him in a moment since Hewson’s strongest scene partner may be that “laid-back” charmer, Mr. Gordon-Levitt. Denied physical interaction, JGL’s Jeff communicates with his crooning and through his questioning eyes. Jeff’s struggling to keep a “professional distance”, though we seem him letting his guard down as this Irish “wild card” draws him in, and, somehow, becomes his teacher. And now to Max, who starts off an a smarmy punk, but Kinlan gives him a sad vulnerability. whether yearning to fit in with the “lads” or impress the local “video vixen”.Max has an emdearing awkwardness which offsets his boasting rap lyrics (which are truly hysterical). And proving that the “apple doesn’t fall far from the tree”, his equally talented pop Ian also scores lots of laughs thanks to the warm, comedic turn by Reynor (so good in Carney’s SING STREET). We’re set up to dislike him as a “deadbeat dad”, but we soon see that Ian is trying to “step up”, and is eventually drawn back into his boy’s life via music (Reynor’s face as he hears Max’s song mix is priceless).

Oh, I forgot to mention that this smart script is also from director Carney. He deftly balances the scenes showing the joy of musical creation with some hilarious exchanges. and plenty of heart-breaking drama. At the story’s onset, it appears that Max will not find his way and will soon be crushed by society. We can see how Flora becomes his lifeline by never giving up or giving in. Plus we get to witness her renewed joy and happiness. Though she’s inspired by that contest money, the music becomes the oxygen invigorating her. Carney makes that part of the tale come alive using a clever visual trick to break through the laptop screen to forge an intimate connection between Flora and Jeff. And though everything’s not neatly wrapped up by the sweet finale, we’re left with hope for all the principals. Sure, it’s another charming ode to melody from Mr. Carney, but it’s also a wondrous story of a fractured family who can learn a new way to harmonize. To put it simply, FLORA AND SON truly hits all the right notes.

3.5 Out of 4

FLORA AND SON is now playing at select theatres and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas. It also streams exclusively on AppleTV+ beginning on Friday, September 29, 2023

A GOOD PERSON – Review

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

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

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

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

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

3.5 Out of 4

A GOOD PERSON is now playing in select theatres.

WILDFLOWER (2023) – Review

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


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

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

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

2.5 Out of 4

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

WHEN YOU FINISH SAVING THE WORLD – Review

So, I’m thinking that there may be a bit of a hidden strategy concerning a couple of this week’s big movie releases. Nothing nefarious mind you, perhaps more of a coincidence. Basically, we’ve got two tales of conflict between a parent and a son. Yes, the other film is the somber, emotional drama THE SON. This other work, on the “flip side” also has lots of verbal clashes, but it’s peppered with lots of humor, often at the expense of the divisive duo. Plus it takes a few well-deserved shots, more like “burns’ at our social media-obsessed society. This is a touch ironic since it’s written and directed by the actor who was Oscar-nominated for his performance in an epic docudrama set on the fringes of the worldwide web. Now we’ve given a heads-up to the script’s snarky tone by the title. Can’t you almost hear a parent or a teen screaming with a sarcastic sneer WHEN YOU FINISH SAVING THE WORLD, followed by a door slam?


At least once a week, high-schooler Ziggy Katz (Finn Wolfhard) must not be disturbed in his room. Is he studying or preparing for a school play? No, he’s in his makeshift podcast studio, serenading his worldwide web audience with his original folk/pop tunes (and hoping for some money online transfers with their applause). This baffles his stodgy parents. His dad Roger (Jay O. Sanders) is a befuddled academic who wanders the different rooms. The most irritated is Evelyn (Julianne Moore), who pressures Ziggy to devote time to more serious pursuits, mainly college. Ziggy insists that he’ll be a famous music superstar any minute now. In the mornings she often drives him to high school, with his guitar case strapped to his backpack, on the way to her job at an abused women’s shelter. It’s there that Ev becomes very interested in one of the new residents. Kyle (Billy Bryk) has helped his mom get away from his violent father. Ev seems to envy their close bond and decides that her big new project will be getting Kyle into college and away from his dad’s garage (he’s a mechanic there). Meanwhile, Zig becomes smitten with one of his classmates, Lila (Alisha Boe). He finally joins her and her pals at their lunch table. Unfortunately, they don’t care about his tunes, as they discuss “political stuff” like climate change and nationalism leaving Zig in the dark. But he’s determined and joins her at a “current events coffeehouse”, where the enlightened teens scoff at his silly songs. And then he hears Lila recite her own poem about the Marshall Islands. A bulb lights above his head. He can turn it into a rousing musical anthem! Will this be the way to her heart? And will this cause a rift with mom Ev now that she seems to have a “surrogate son” in Kyle?

Moore effectively buries her usual sunny screen persona as the often deadpan, fairly humorless mama Evelyn. With her body language seemingly forever braced to endure the frustration of the world, especially her only son, Moore’s Ev appears to yearn for just a smidgeon of joy. When she encounters Kyle we can see that light flicker on, brightest when she even plays a silly prank on the earnest lad. It flickers out when Ev realizes that she’s overstepped and Moore conveys her falling spiral back into place. Wolfhard gives the complex Ziggy a really complex characterization. He’s casually vicious to his folks while putting on an adorable, ingratiating front to his fans and online patrons. And then he’s sweetly “gobsmacked” by Lila, though his confidence is chipped away when she and her “smart friends” mock his vapid shallowness. Wolfhard shows us that beneath his musical arrogance, he’s still hoping to fit in. Boe’s Lila is that “object of desire” who’s trying to be nice to the overeager Zig, but doesn’t want to “lead him on” since she’s into changing the planet through actions, not silly melodies. As for Ev’s focus, Bryk gives kyle a simple sunny dignity as he remains devoted to his mom as he’s puzzled by Ev’s push into higher learning. Floating above most of the chaos is the funny Sanders whose Roger just wants a nice quiet dinner and to be acknowledged for his own career (he has a fit when neither Ev nor Zig attends his honors banquet).


Oh, that actor/director is none other than the pseudo-Zuckerberg Jesse Eisenberg, who also penned the screenplay adaptation based on his 2020 Audible Original work. Mmm, maybe this is also pretty close to another release from this weekend, MISSING, since a good chunk deals with online connections, and the opening sequence is a monitor screen that’s filled with tabs of Zig’s smitten fanbase. Other than that Eisenberg eschews any fancy storytelling techniques to highlight the two main characters and the terrific acting duo. He commits to the awkward home encounters that can unexpectedly explode in verbal “throw-downs” as neither side really understands the other’s way of thinking. Still, it’s hard to believe that Zig’s “enlightened” parents would permit his many “FU’ tirades (maybe it’s a dig at the whole”don’t stifle the child’s spirit” mentality). Those fraught encounters take a backseat after the first act to concentrate on the twin “manias” with Zev wanting a girlfriend and Ev trying to retrieve a paternal bond. This all culminates in a fairly hopeful final denouncement that doesn’t feel drawn out. And that may be the best part of the whole thing. After a recent spate of bloated three-plus hours of self-indulgent cinema, Eisenberg embraces brevity with a blessed 88-minute runtime which feels…just right. Maybe not for a sweeping historical epic, but almost perfect for a mother/son dramedy. And that’s a real ‘saving grace” for WHEN YOU FINISH SAVING THE WORLD.


3 Out of 4

WHEN YOU FINISH SAVING THE WORLD is now playing in select theatres

ARMAGEDDON TIME – Review

(L to R) Michael Banks Repeta as “Paul Graff” and Anthony Hopkins as “Grandpa Aaron Rabinowitz” in director James Gray’s ARMAGEDDON TIME, a Focus Features release. Courtesy of Anne Joyce / Focus Features

Well, it’s been over two years now. I’m talking about the near-global pandemic “time-out”. So, do you recall what you did to pass the hours? Was “recall” part of it, as in revisiting old memories and childhood experiences? It appears that many “creatives”, including lots of filmmakers, took a “sentimental journey”. Of course, that’s not rare as many movie makers have opened up about their past, from Fellini to Scorsese (sure it’s the story of Henry Hill, but there’s a lot of young martin in GOODFELLAS). And now, with a few years put into making them, the nostalgic film “floodgates” are opening up. In the next few weeks, we’ll delve into the recollections of Sam Mendes and Steven Spielberg. This weekend another artist gives us his “take” on the “coming of age” saga. Ah, but things aren’t bathed in a “rosy haze” in this work. Which explains its title, ARMAGEDDON TIME.

The time in question is the Fall of 1980. Aspiring comic book artist Paul Graff (Banks Repeta) shares his artistic gifts with his eight grade classmates via a cartoon of their teacher Mr. Turkeltaub (that name just begs for a human/ poultry hybrid sketch). Of course, Paul is busted but luckily another student, Johnny (Jaylin Webb) defends him. Being the only black student there, due to recent “busing” rulings, Johnny “butts up” against the school faculty. But he and Paul forge a strong friendship, leading to lots of after-school adventures and mischief. Johnny’s ailing and addled grandma (his sole parent) lives far across town, so Paul lets him stay in the clubhouse shed behind his Queens, NY home. It’s the site of many Graff family dinners, prepared by mother Esther (Anne Hathway), who’s involved in the PTA, and hosted by electrician papa Irving (Jeremy Strong). Oh, Paul’s older brother who attends a swanky private school, Ted (Ryan Sell) is there. But the most revered guest is Esther’s father, beloved grandpa Aaron (Anthony Hopkins). He and Paul bond over their shared love of art and model rockets. And yet the lad continues to get into trouble both at school and at home, which is on edge due to the upcoming elections (“That movie actor will have his finger on the button”). When the antics of Paul and Johnny get more serious, the Graffs decide that public school is not working for their youngest. Can Paul fit in with the “swells” at that stuffy elitist place? And what will happen to his friendship with the “unsupervised” Johnny?


Despite the “heavy hitters” in the cast (at least two Oscar winners), the focus of the story is Repeta as the impulsive Paul. The young actor seems relaxed and very natural in the role. Oh, and very real as he can turn from endearing and sweet to annoying and cruel “on a dime”. Sure, he’s the “center” but he’s not truly the hero. Much of that also applies to Webb as Johnny who projects an aura of tough apathy, which deflects any further disappointments and frustrations. He has big dreams that would take him far from the “mean streets”, but he knows that the odds are against him, along with almost everyone in the inner city. Supporting Paul on the homefront is Hathaway as the nurturing Esther who wants to be a progressive, but fears for her lil’ guy as he pushes against her protective embrace. The most complex parent may be Strong as Irving who must temper his affection for “his guys” with the need to be the “final word”. Strong convey a nerdy warmth as he sings a song (aided by banging a pan) to wake his lads, then becomes a terrifying “rage monster’ while dealing with Paul’s latest escapade. He truly scares the boy, but we can see in Strong’s eyes that he’s also unnerved by his out-of-control anger. Then in the final act, Irving insists on staying in the car with the boys during a memorial service, though not for their benefit as he suppresses a sob. But Repeta truly shines in his scenes with Hopkins as the ultimate grandpop’, full of patience and grumbly good humor, eager to be Paul’s sidekick in mischief. Though he seems an unlikely choice to play a Jewish family patriarch, Hopkins commands the screen as he regales his precious children with old songs or rivets them with his horror stories of survival and escape. Plus you just might feel your heart melt as Paul addresses him as “my good man”.Oh, and another big talent provides a most compelling cameo as a real figure from the era (with a big connection to the present).

All of this flows from the mind and memories of writer/director James Gray, who has fashioned an engaging “memory piece” that expertly invokes an era with almost no sentimentality. Yes, these years are full of wonder, but they’re also infused with anxiety. that mood is best seen as the adults discuss the presidential elections which may surprise younger filmgoers. Reagan may seem like an affable uncle in archival footage, and too soft now for his old political party, but for many at that time he was seen as the fellow who could bring about…the movie’s title. But the tale’s real tragedy may be the “arc” of Johnny, who will not get the second and third “chances” afforded to Paul. He’s the sacrifice to make the “system work”. The pace of the piece is problematic as it seems to lurch from one “dire incident” to the next with little coherence. Perhaps some more interaction between the parents would give a better understanding of the family. Or at least it would explain their inconsistent disciplinary strategies, especially when Paul really goes “over the line” and rebels at the first big family meal. Kudos to the production team for re-creating the hairstyles and fashions of the era (being a middle-class family, they wouldn’t be sporting the big “disco duds”). It’s worth seeing for the superb cast, but a wobbly script that just seems to abruptly stop drains the drama out of ARMAGEDDON TIME.

3 Out of 4

ARMAGEDDON TIME opens in select theatres on Friday, November 4. 2022

RAYMOND & RAY – Review

So now that October’s past the midway point many of us are getting that end-of-the-year “sense of dread” as the two major holidays loom with the pressure of reuniting with the family. Oh, I know that there are those on the “other side of the coin” who truly relish the big annual “sitdowns” (and consider yourself fortunate indeed). This film is assuredly in the former category. Oh, and it’s not set during a holiday. Rather it’s more of a family “unraveling” as the setting is the funeral of a parent. Which in turn brings together, after a long “hiatus”, two brothers from “different mothers”. And though they share a papa, they’ve got little in common despite the shared “moniker”. But to make things easier, their patriarch referred to the guys as RAYMOND & RAY.

The first one we meet is the “straight-laced” timid and a tad “up-tight” Raymond (Ewan McGregor) as he drives through a dark, dense wooded area. He finally finds his destination, a cabin off the main road. Raymond nervously knocks on the door and is greeted by his pistol-toting stepbrother Ray (Ethan Hawke). Since he’s got no phone, Raymond has surprised him just as one of his ladies has left (hence the “piece”). Raymond explains that their father Harris’ funeral is tomorrow about two hours away. Ray scoffs and has no interest in attending, but Raymond insists since he needs Ray to drive. Seems he lost his license due to a DUI but took a chance on the back roads at night to pick up Ray. Eventually, they agree to leave at dawn. On the road, the two share horror stories about their awful abusive pop. At the funeral parlor, the brothers are stunned by the “pre-arrangements” and are told by a lawyer to go to dad’s final home for items left for them. At the house, they’re greeted by Lucia (Maribel Verdu), a former lover of Harris who tended to him in his final years, which intrigues Raymond. Later at the funeral home, Ray strikes up a dialogue with his papa’s hospital nurse Kiera (Sophis Okonedo), who is resistant to his charms. Eventually, they all gather at the cemetery for a memorial service that turns into a multi-hour ordeal because of the unusual (to say the least) requests in Harris’ will, Under that setting sun many surprises come to light and family scandals and secrets are revisited.

The film’s an engaging showcase for the two lead actors and their very distinct performing styles. Slightly tweaking his American accent for a Southeastern twang, MacGregor Imbues the almost always mellow Raymond with a bit of suppressed rage. With each new family anecdote his “fuse” inches toward the long-dormant but still potent “payload. This guy’s sitting on so much that it’s not a question of whether he’ll explode, but when. And McGregor shows us Raymond’s frustration with his sibling and how it’s finely tempered by his growing lust for Lucia. Hawke infuses a “too cool for school” vibe for Ray (though his academic years are long behind him), though his “half-mast” eyes are hiding a deep loss-fueled pain. He’s had his fill of people even though he can’t resist sending off a magnetic vibe to nearly all the ladies. But that “mojo’ is deflected by Verdu who projects her own charisma as the sexy, nurturing exotic goddess (much as in her breakthrough role over 20 years ago in Y TU MAMA TAMBIEN) Lucia who exalts in her passions, offers an escape hatch to Raymond’s crushing disappointments. Also blocking Ray’s charms is Okoneido’s Kierra who recognizes Ray as a damaged soul wrapped in his aloof dude disguise. She heeds her calling to try to ease his pin, but is determined not to be one of his many casual “flings”. Also of note is Vondie Curtis-Hall as the flamboyant exuberant Reverend West who befriended the late papa in his last months.

Writer/director Rodrigo Garcia has created an engrossing look at two middle-aged men grappling with the past and each other while trying to deny the desire for the brotherhood that they each share. Although it begins with mismatched, bickering travelers trapped on a “road trip” first act, once they reach the destination the family drama opens up to take in the quirky characters that Dad had gathered during his last journey. It does seem to meander during the long final act at the gravesite, often feeling like a stage play with each mourner getting some script “business”, which leads to a hopeful conclusion with the promise of a better future and a smattering of redemption. Sure, it remains a family relationship drama, though it’s also an interesting character study worth taking in for the cast, especially the two terrific actors as RAYMOND & RAY.

3 Out of 4

RAYMOND & RAY is now playing in select theatres and streams exclusively on AppleTV+ beginning on October 21, 2022

HIT THE ROAD (2022) – Review

Ah, with the slowly rising temps and with most schools getting ready to finish u[ their “grade years”, many families are hearing the call of the open highway. Maybe more so than other forms of mass transportation, driving may be the best option with new “variants’ popping up . But long hours in such “close quarters’ can certainly put a strain on the old “family dynamic”. And that’s probably true with families all around the world. In this new release, we’re in the ‘passenger seat’ for a winding journey through the battered dusty highways and byways of Iran. What really complicates this trek is what’s “packed away” with the bottled water and snacks, namely some big secrets. So, will these “hidden agendas” keep locked away when they HIT THE ROAD?

This story begins with a “rest stop’ off the shoulder of a baking trail full of sand and rocks. Papa (Hasan Majuni) is trying to nap in the back seat, while his left leg, which has been in a plaster cast for a loooong while, stretches into the front armrests. Of course, his slumber is thwarted by his “spirited” six-year-old son who’s mainly known as “little bro” (Rayan Sarlak). Meanwhile, his older “big bro” (Amin Simiar) walks around the borrowed SUV, looking for dents and leaks. In the front passenger seat, Mama (Pantea Panahiha) is jolted awake by her little boy’s hidden cell phone he had promised not to bring it along, so she grabs it and dashes away to hide it under a nearby rock, insisting that they will pick it up on the return home (odd). Soon they are back on the move, with the somber big brother at the wheel. Along the way, they encounter a cycling fan and make several “pit stops” to take the dog Jessy (who is very ill, though his frailty is hidden from the youngster) for a “walk”. After much squabbling, they get directions to their destination from a shepherd. It’s a “drop off” point for Big Bro, who has told his Little Bro that he’s off to a new job in a new city. The parents go along with the big “fib” and try to comfort their younger son while worrying about the possible dissolution of their family.


There’s a reason that the marketers have put Sarlak on the film’s poster (solo at that). He’s that rarity of child actors, one who seems completely natural on-camera. Plus he’s like so many “little men” of so many families. His character tests the patience of everyone around him, exhausting his elders to the breaking point. But it’s so hard to stay mad at him as he’s so endearing and plain adorable (watch him dance to the local pop tunes on the radio). Oh, but there’s the stubbornness, like a “dog with a bone”, never letting up on the questions as though he’s a broken record (or sound file). He’s a “formidable opponent” and makes a good sparring “scene partner” for Majuni as the gruff, always somewhat annoyed papa. He teases and taunts as he doesn’t let his inner turmoil bubble to the surface. He is quite the counterpart to Panahiha as the matriarch with her “emotions on her sleeve”, also trying to hide her fears and comforting her two “fellas” and attempting to be the glue that must repair their fractured family. The most crumbling piece is her eldest who is an enigma as played by a very stoic Simiar. He’s trying to keep focused and not get caught up on the fable concocted for his tiny sibling. There’s a spiritual sword dangling above his head but struggles to keep it out of his thoughts.


Director/writer Panah Panahi deftly balances comic exchanges and deep interpersonal conflicts while following this quartet across the desert. Sure, we know folks get quarrelsome while traveling, but there’s much going on beneath the surface. That may be the most difficult aspect of this tale. Clues and hints are dropped, but we feel almost as baffled as “lil bro”, aching to know exactly why we’re there and what’s really the problem with “big bro”. But there are great “crumbs’ along the trail. An encounter with a cyclist provides some needed humor, while a camping sequence with papa and his lil’ boy has a cosmic, mystical vibe. But then we’re kept at arm’s length, observing scenes from far, far away (this makes the subtitling even more difficult to sort out), leading to an ending full of dangling plot threads. Thanks to the teaming of Sarlak and Mujani HIT THE ROAD chugs along but over its final miles, the film just meanders and runs out of gas.


2 Out of 4


HIT THE ROAD opens in select theatres everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas

C’MON C’MON – Review

Joaquin Phoenix, Woody Norman (L-R)

With the first of the two big end-of-the-year holidays upon us, many theatres will be showing family films. And while most are of the “all ages” category (and yes, a big Disney animated one is on the way), this new release tackles the ups-and-downs of an often scattered, and a tad dysfunctional, family unit. For many single adults, the big “Thursday meal” is a chance to reconnect with the offspring of your siblings, to assume the moniker of “doting aunt” or “cool uncle”. You get to have some fun with the lil’ tykes, but you can hand them off to their folks when they become tired or cranky. The new film wonders how an adult reacts when they’re suddenly thrust into the guardian role. More than likely you’d resort to a familiar phrase while urging them to get ready for an outing or off to school: C’MON C’MON!


Near forty-something and single Johnny (Joaquin Phoenix) has a somewhat nomadic life as a roving “audio-journalist” for a major radio company. He travels from city to city interviewing youngsters (mainly) about their concerns and aspirations. During some “downtime” he’s surprised to get a phone call from his sister Viv (Gaby Hoffmann). Things became strained between the siblings during the last months of their late mother’s descent into dementia. Now Viv is in a bind. Her suburban LA lifestyle is in chaos after her bi-polar husband Paul (Scott McNairy) dashed away to San Francisco. She needs to track him down and get him back into therapy. However, she can’t take their nine-year-old son Jesse (Woody Norman) with her. And so Johnny agrees to stay with the boy despite his sometimes off-putting quirks (pretending to be a wandering orphan is a night-time ritual). . Unfortunately her trip doesn’t go as smoothly as she hoped, so Viv begs Johnny to stay a bit longer. Ah, but his duty/job calls and despite Viv’s trepidations she allows him to take Jesse on his return trip to NYC and later to New Orleans. And though Jesse’s fascinated by the audio gear, the two clash as he tests Johnny’s patience. Can he keep his…stuff..together as the wait for the big family reunion gets longer…and longer?

In his first feature after his Oscar-winning turn as THE JOKER, Phoenix imbues Johnny with a quiet stoic demeanor, one that masks what’s bubbling under the surface. We learn of Johnny’s recent breakup, which tells us that he’s just trying to move past it, to put his head down and do the work of living. And although his job consists of interviews, he’s not really connecting with anyone. It turns out that his family’s there to shake him out of his stupor. Phoenix shows us how Johnny is opening up as a surrogate parent, but he also conveys the panic and aggravations as his logical guy deals with the whims of his charge. And Norman as Jesse can be quite a handful, to say the least. There’s no hint of precious cuteness here. Yes, his lack of a filter can be amusing, but his stubbornness leading to risky behavior (he can vanish in a flash) is exasperating to witness. Then Norman shows us that Jesse has some big issues as he sees himself as an obstacle to his family’s healing. This is a kid just as complicated as the adults. He’s lucky to have Viv, who Hoffmann plays as a woman spinning so many plates as she tries to “fix” her and Jesse’s life. She believes herself to be Paul’s only lifeline as she struggles with guilt over leaving, just for a while, Jesse. Hoffman’s got the nurturing nature down pat, although we see her fiery temper as she tries to work through her past with Johnny. And although we mostly see him in sporadic and short flashbacks, McNairy seems vividly real as a man flaying in a spiral toward madness.

Writer/director Mike Mills brings a documentary-style intimacy to this look at skewed family dynamics. There’s no flashy storytelling flourishes as he uses Robbie Rayan’s haunting black and white cinematography to focus on the ever-changing relationship of Johnny and Jesse. There’s some splendid location work, especially in still-recovering New Orleans, and excellent use of literature to further the drama, with narrated book excepts with titles crediting the writers. And there are terrific interview sequences that feel as though the director and the actor (Phoenix’s having to really “think on his feet”) just want to see where the subjects will take them. These scenes augment and build on the evolving rapport between the two leads, whose conversations never feel plotted or strained. By the story’s end, it seems that both characters have grown and evolved. And they’re enriched, just as viewers will feel after taking in C’MON C’MON.

3 Out of 4

C’MON C’MON is now playing in select cities and will screen exclusively in the St. Louis area at Landmark’s Plaza Frontenac and the Hi-Pointe Theatre on Wednesday, November 24, 2021.

KING RICHARD – Review

As we close in another year at the cinema, it’s time for another entry in a genre that’s usually a true “awards magnet”. Why it’s another movie biography, but it’s not in the “show biz” sub-category like JUDY or ROCKETMAN or even the upcoming BEING THE RICARDOS. This is a sports-themed “biopic” (so the upcoming Kurt Warner one will have a bit of company at the multiplex) about the tennis phenom sisters Venus and Serena. And since they’re true super-heroes on the courts, you could say it’s their “origin story”. Yet, the duo isn’t the prime focus of the flick. That’s why its title is the nickname of their “papa with a plan”, the tough taskmaster referred to as KING RICHARD.

It all begins in the early 1990s, as Richard Williams (Will Smith) piles his kids into his rickety minivan and takes them to the public park not far from the mean streets of Compton, California. He and the kids take over a tennis court, where he coaches his future stars, Venus (Saniyya Sidney) and Serena (Demi Singleton). The younger kids fetch the tennis balls as the eldest sister tries to study while avoiding the jeers of local hoods. Daddy tries to shoo them away, with little success (and some new bruises). They’re soon back home with mama ‘Brandy’ (Aunjanue Ellis) for dinner as papa heads out to his job as a night watchman at a retail mall. The sisters hone their skills as Richard formulates a plan for success. First, they need a top coach, so they head over to an upscale club to “ambush” top trainer Paul Cohen (Tony Goldwyn), who agrees to work with Venus for free, while a sad Serena continues her training with dad. As the awards and trophies pile up, Richard decides it’s time to “step up”, and convinces tennis coaching whiz Rick Macci (Jon Bernthal) to fly in and look at the sisters in action. This prompts an offer for relocation, to Rick’s training camp tennis center in Orlando, Florida (he’ll provide them with a house against a cut of future earnings and endorsements). Over the next few months, Richard will clash with Rick along with his wife Brandy, while never losing sight of what’s best for the family and steering his daughters away from the pitfalls of superstardom.

Happily this role comes along to remind us of Smith’s superb acting skills in probably his best work since 2015’s CONCUSSION. Sometimes we forget this when the screens are filled with his big action thrillers or “star concepts” (a live-action ALADDIN was…meh), but when there are no stunts or effects to distract, Smith can truly move us. As Richard, we soon accept him as this every day “working stiff’ who is reaching for that “brass ring” while almost falling into an abyss of despair. At the story’s start he almost seems a male-version of the “stage mother’, or worse the “sidelines dad coach, though Richard will not sacrifice his angels at the altar of success. But he’s no saint, and Smith plays him as ill-tempered and stubborn, yet we know he’s just looking out for the family. Smith captures all the complexities of this very flawed, family man. Luckily he’s got some great co-stars to “butt heads with”. Ellis is the maternal “rock” that will not be budged by papa when he gets too “full of himself” (oh, when she “lays done the law” in their Orlando kitchen…whew). Then we’ve got movie and TV “tough guy” Bernthal playing against his “type’ as the often flustered Macci who tries to be the “good cop” to Richard by lulling him with humor and logic. Bernthal’s an endearing motor-mouthed cheerleader in an energetic performance. He’s nearly the opposite of Goldwyn as the no-nonsense Cohen who can’t quite shout over Richard. And kudos to both Sidney and Singleton for capturing the ups and downs of sister relations while making the big physical scenes look convincing and quite believable.

Director Reinaldo Marcus Green juggles the many dramatic and comedic sequences in the script (written by Zach Baylin) with subtlety and confidence. The exchanges between Richard and the kids are both warm and funny (watching a VHS of Disney’s “Cinderella” to gain “life lessons”) without turning him into a sitcom”doofus dad”. Green takes the story into a darker turn as the violence starts to tighten around the group. When Richard does intervene, the quick escalation is truly terrifying. The tale’s real power is in its depiction of dedication and determination along with lots of grueling hard work (my calves were aching just watching the practice montages). It’s an inspirational story (and persperational, too). Though it could use a bit of tightening (no need to be over two hours), it’s unusual for a sports film conclusion is quite refreshing. Much of the rest of it may seem familiar, but this a journey worth taking because of the exceptional cast, proving that Smith is a “movie star’ and a truly talented actor. Maybe his praise (and some possible awards) will comprise his “crown” as KING RICHARD.

3 out of 4

KING RICHARD is playing in theatres everywhere and begins a 30-day streaming run exclusively on HBO Max starting November 19.2021