Paramount Pictures has debuted the first trailer for BY ANY MEANS.
Based on a true story, a young Black FBI agent (Yahya Abdul-Mateen II) is sent into 1960s Mississippi to investigate a wave of brutal killings targeting civil rights leaders. Forced to work alongside notorious mafia hitman Greg Scarpa (Mark Wahlberg), he finds himself pulled into a deadly hunt where justice and vengeance begin to blur.
When the system is broken, two men divided by everything agree on one thing: the law has limits. They don’t.
A film not to miss, check out the brand-new trailer now.
The film features a huge cast which includes Yahya Abdul-Mateen II, Mark Wahlberg, Nicole Beharie, Josh Lucas, LisaGay Hamilton, LaChanze, Ethan Embry with David Strathairn and Giancarlo Esposito.
BY ANY MEANS is written by Sascha Penn and directed by Elegance Bratton.
See the film in theaters on September 4.
Mark Wahlberg, left, and Yahya Abdul-Mateen II star in Paramount Pictures’ “BY ANY MEANS.”
Michelle Dockery as Madolyn and Mark Wahlberg as Daryl in Flight Risk. Photo Credit: Courtesy of Lionsgate
Here’s your first look at Lionsgate’s upcoming movie FLIGHT RISK.
In this high-stakes suspense thriller, Academy Award nominee Mark Wahlberg (Actor in a Supporting Role, 2006 – The Departed) plays a pilot transporting an Air Marshal (Michelle Dockery) accompanying a fugitive (Topher Grace) to trial. As they cross the Alaskan wilderness, tensions soar and trust is tested, as not everyone on board is who they seem.
From Oscar Winning Director Mel Gibson (BRAVEHEART, HACKSAW RIDGE), check out the brand new trailer below.
Ali Suliman as Chik, Mark Wahlberg as Michael, Nathalie Emmanuel as Olivia and Simu Liu as Leo in Arthur The King. Photo Credit: Carlos Rodriguez
Geez, the movies have really gone to the dogs. Sure, lots of folks constantly use that as an insult to modern cinema, but with this weekend’s big release it’s a bit true (so pardon the “groaner dad-joke” of a pun). With lots of kiddies enjoying either the end or the beginning of “Spring break”, there’s got to be more for them in the multiplex other than the further adventures of that KUNG FU PANDA. And so, it’s the canine stars to the rescue, with this new “good boy” joining the ranks of Rin Tin Tin, Lassie, and even Beethoven. Plus he’s got a bit of an advantage since his tail (er, tale) is a true one (or at least “inspired by true events”) which already spawned a beloved book. And it doesn’t hurt that his human co-star is quite a “bankable” actor who bounces from family fare to action blockbusters. He’s the knight who “serves” ARTHUR THE KING.
That guy in question is “adventure racer” Mike Light (Mark Wahlberg). So what is this “adventure racing”? Well, he’s the leader of a group of athletes (more like tri-athletes) who compete with other teams to win a race based in exotic, and often brutal, world locations. And running’s just part of it, along with mountain climbing, hiking, biking, and canoeing. The movie’s story starts back in 2015 as Mike’s team (which is backed by several sponsors) is humiliated online as they “run out of the river” and must pull their boats through the mud. Cut to three years later with Mike back at his home in Colorado and starting a family with one of his former teammates. But he’s still yearning for “game glory” as he rankles at working with his prickly papa in the real estate biz. Oh, but a big new race is coming up, and Mike wants one more chance at a big win. But his backers make some demands. Mike’s got to re-unite with social media “showboat” Leo (Simu Liu), though he’s able to bring back old pal Chil (Ali Suhlman), despite his recent knee surgery. Oh, and he’s got a “newbie” in Olivia (Nathalie Emmanuel), a “second generation” racer hoping to honor her legendary pop. Soon they all meet in the Dominican Republic. It’s a tough race until they get an unexpected assist from a wounded dirty “street dog” who likes Mike’s meatball snacks. The team and the pooch get separated, but the pup always catches up to help. Mike names him “Arthur” after the iconic “King of the Britons”. Though he’s far from royalty, Arthur and Mike form a bond that is truly tested after the “finish line”.
With this new role, Wahlberg merges his intimidating physical prowess with his affable “family guy” vibe as Light. Thankfully he also gets to convey Mike’s “arc” from the bullheaded “alpha” in the opening flashback to his slowly building respect and affection for the abused dog that becomes a guiding guardian angel to him. Wahlberg pours that emotional intensity into the final act in which he’s got to be Arthur’s true champion. He certainly isn’t upstaged by his canine co-star, much as he holds the screen with his fellow actors, especially in the bickering battle of egos with his “frenemy” Leo played with blustery charm by the always engaging Liu. Leo also has a change of heart as he soon puts his teammates, including Arthur, ahead of his appetite for online “hits”. Emmanuel has a nice no-nonsense persona as the formidable Olivia, who laughs off an injury that will have audiences squirming. Suhlman is also compelling and endearing as the amiable but determined (that knee won’t slow him down) Chik. And vieing for the most adorable cast member, Cece Valentina as Mike’s daughter Ruby (who loves that pink nail polish on Daddy) goes toe to paw with the soulful big brown eyes of Arthur himself.
Director Simon Cellan Jones makes excellent use of the gorgeous exotic locations whose beauty almost obscures the dangers around every turn. The competition sequences are truly immersive as we’re squeezed right into the tiny watercraft, and climbing every green step of a steep hill. The film’s big action highlight happens around the midpoint as a zip line hundreds of feet above the forest tests both their strength and smarts, along with the nerves of the viewers (but it looks like “big fun” for a while). The use of narration (“play by play”) from reality TV star Bear Grylls really helps clarify the race segments and rules. Ah, but the competition is really a backdrop for the story of a budding man/dog love story. Jones still shows the harsh reality of Arthur’s life on those mean streets as other dogs defend their turf. This adds more emotional weight to the final act as Mike puts everything “on the line” for his new pal, in heart-wrenching scenes that may inspire some OLD YELLER flashbacks for the baby boomers. The lil’ tykes may get a bit distressed but the uplifting story will bring a smile and maybe a tiny tear to all the “fur baby” parents. Yes, it’s manipulative, but the sports backdrop and lush landscapes make this new family flick fit for a crown-wearing (maybe on his dog collar) ARTHUR THE KING.
2.5 Out of 4
ARTHUR THE KING is now playing in theatres everywhere
Over the course of ten days and 435 miles, an unbreakable bond is forged between pro adventure racer Michael Light (Mark Wahlberg) and a scrappy street dog companion dubbed Arthur. Based on an incredible true story, ARTHUR THE KING follows Light, desperate for one last chance to win, as he convinces a sponsor to back him and a team of athletes (Simu Liu, Nathalie Emmanuel, and Ali Suliman) for the Adventure Racing World Championship in the Dominican Republic. As the team is pushed to their outer limits of endurance in the race, Arthur redefines what victory, loyalty and friendship truly mean.
Check out the trailer for Netflix’s upcoming comedy ME TIME, starring Kevin Hart, Mark Wahlberg and Regina Hall.
When a stay-at-home dad finds himself with some “me time” for the first time in years while his wife and kids are away, he reconnects with his former best friend for a wild weekend that nearly upends his life.
John Hamburg serves as writer (Feature), director and co-produces alongside Kevin Hart and Bryan Smiley.
It was announced in January 2021 that fresh off of having Netflix’s #1 comedy special of 2020, Hart and his HartBeat Production banner would have a new creative home for films at Netflix. Netflix will be the exclusive home for four feature films starring and produced by Hart, whose movies have grossed more than $4 billion at the global box office.
You can see Hart in Netflix’s action-comedy, The Man From Toronto, which he is starring in alongside Woody Harrelson and Kaley Cuoco.
Victor “Sully” Sullivan (Mark Wahlberg) and Nathan Drake (Tom Holland) look to make their move in Columbia Pictures’ UNCHARTED. photo by: Clay Enos
So getting those winter blues, stuck inside for days due to the weather (and lingering travel restrictions) making you a bit stir crazy? The perfect “cure” might be a virtual “vacay”, namely a globe-spanning adventure starring two actors representing the “next-gen” of action heroes. Hey, one of them is still dominating the box office (and probably playing in the auditorium next door or down the hall). But this is no mere travelogue “romp”. It’s an adaptation (and a hoped-for new franchise). Another comic book, maybe a novel, or perhaps a classic TV show? Get with it Gramps’, this is a computer game that hopes to make as big a splash as Sonic did two years ago. Rather than a CGI speedy critter, here’s the tale of a team who’ll face any danger in their quest for gold and glory hidden in territories still UNCHARTED.
Much like another beloved action franchise, this movie’s opening sequence has the intrepid Nate Drake (Tom Holland) in seemingly unescapable peril until…a flashback. We then meet him as a teen when he and his older brother Sam try to raid a museum in the dead of night. Try is the operative word as the two are hauled back to the orphanage. Before Sami s sent off to “juvie’ he promises Nate that he’ll keep in touch, then disappears into the night. A dozen or so years later adult Nate is mixing cocktails and tossing off historical explorer nuggets as he relieves spoiled “trust funders” of their trinkets and cash. But somebody’s on to his “game”: worldly “collector” Victor “Sully” Sullivan (Mark Wallberg). He approaches Nate and tries to recruit him into his plot to grab to golden jeweled crosses that would unlock the lost treasure of Magellan. Nate’s not onboard till Sully reveals that he worked with Sam. Actually, they just need the cross that’s part of a big “high-end” auction nearby (Sully insists he’s got the other one). The duo sneaks into the swanky event and are immediately spotted by the slinky Braddock (Tati Gabrielle), Sully’s rival and a ruthless retriever for multi-billionaire Santiago (Antonio Banderas) who believes the treasure is part of his family legacy. After the auction ends in chaos Sully and Nate are on the run, first to meet up with a shady operative in Barcelona, Chloe (Sophia Ali), leading to an all-out showdown on a Pacific island. Can the lowly trio get to the loot before Santiago and Braddock’s army scoops it up?
Aside from its gaming roots, this film’s biggest ‘draw” may be Holland, fresh off of last year’s biggest box office hit (now the third biggest domestic B.O. of all time). Here he brings the same infectious energy and boyish charm as Peter P., but offset with a devious, rascally grin as he breezes off with “ill-gotten booty”. That’s tempered with his sense of loss and longing to reunite with his mentor, older sibling. Part of that role is taken up by Wahlberg whose Sully oozes with layback cool mixed with lots of snark, as he tries to suppress a grin as Nate reminds him of his early blunders. Both actors can pull off the dapper and the dirty inherent in their roles. Always looking suave is Banderas who now seems to be the “go-to” guy for the sinister international mastermind (much as he did last year in THE HITMAN’S WIFE’S BODYGUARD). Well, at least he’s not stroking a cat as he reveals his nefarious schemes. One of those listening in would be Gabrielle who makes Braddock both sinister and sexy, an exotic dangerous beauty who will “kiss you deadly” without a moment’s hesitation. On the flip side, there’s Ali as Chloe who has tart chemistry with Nate, though she can’t quite be fully trusted since her past with Sully has made her much wiser…and wiley.
The action sequences are strung together with a manic pace by director Ruben Fleischer, who has jettisoned the subversive satire of his ZOMBIELAND films for gravity-defying (and physics-ignoring) set pieces to keep kids glued to their seats. Unfortunately, these CGI-enhanced stunt exercises are exhausting and eventually monotonous as the film tries to “top” itself and forgo more character development to keep moving to the next exotic locale. Plus the three (!) screenwriters should know better than to namedrop Indiana Jones and Jack Sparrow which reminds the audience of much-better adventure extravaganzas. Holland’s tossed around here as much as the wallcrawler, but he, like most of the characters, may just be made of pixels as they bounce back quicker than the Looney Tunes troupe. At least Indy had some “mileage” as Nate doffs his shirt baring a chest free of scrapes and bruises. And like most thrillers, they don’t know how to wrap things up as they sprinkle in mid-credits “bonus’ scenes to tempt us with future sequels (oh they surely hope). Aside from the future software exploits, this will probably end the big screen capers of Nate and Sully. It’s a shame since Holland and Wahlberg have an easy-going rapport. They’re deserving of a better outing than this “kiddie-spin” (aside from the patricide and some throat-slitting) on the modern swashbucklers that’s more uninspired than UNCHARTED.
Stuart Long (Mark Wahlberg) in Columbia Pictures’ FATHER STU.
Based on a true story, Father Stu is an unflinchingly honest, funny and ultimately uplifting drama about a lost soul who finds his purpose in a most unexpected place.
When an injury ends his amateur boxing career, Stuart Long (Mark Wahlberg) moves to L.A. dreaming of stardom. While scraping by as a supermarket clerk, he meets Carmen (Teresa Ruiz), a Catholic Sunday school teacher who seems immune to his bad-boy charm. Determined to win her over, the longtime agnostic starts going to church to impress her. But surviving a terrible motorcycle accident leaves him wondering if he can use his second chance to help others find their way, leading to the surprising realization that he is meant to be a Catholic priest. Despite a devastating health crisis and the skepticism of Church officials and his estranged parents (Mel Gibson and Jacki Weaver), Stu pursues his vocation with courage and compassion, inspiring not only those closest to him but countless others along the way.
Check out the new trailer now.
Written for the screen and directed by Rosalind Ross, and starring Academy Award Nominee® Mark Wahlberg (Best Supporting Actor, The Departed, 2006) as Father Stu, along with Academy Award Winner® Mel Gibson (Best Director, Braveheart, 1995), Academy Award Nominee® Jacki Weaver (Best Supporting Actor, Silver Linings Playbook, 2012) and Teresa Ruiz (Narcos). The film is produced by Mark Wahlberg, Stephen Levinson and Jordon Foss and executive produced by Miky Lee, Colleen Camp, Rosalind Ross, Patrick Peach and Tony Grazia.
Director Ruben Fleischer’s latest film, UNCHARTED, is set to hit theaters on February 18. Based on the PlayStation video game by Naughty Dog, watch the brand new trailer.
Street-smart thief Nathan Drake (Tom Holland) is recruited by seasoned treasure hunter Victor “Sully” Sullivan (Mark Wahlberg) to recover a fortune lost by Ferdinand Magellan 500 years ago. What starts as a heist job for the duo becomes a globe-trotting, white-knuckle race to reach the prize before the ruthless Moncada (Antonio Banderas), who believes he and his family are the rightful heirs. If Nate and Sully can decipher the clues and solve one of the world’s oldest mysteries, they stand to find $5 billion in treasure and perhaps even Nate’s long-lost brother…but only if they can learn to work together.
Mark Wahlberg stars as Victor Sully Sullivan and Tom Holland is Nathan Drake in Columbia Pictures’ UNCHARTED. Photo by: Clay EnosVictor “Sully” Sullivan (Mark Wahlberg) and Nathan Drake (Tom Holland) look to make their move in Columbia Pictures’ UNCHARTED. photo by: Clay Enos
This time of year is often thought of as a perfect time for strengthening family bonds. And now this new Summer flick explores this, an “inspired by true events” tale of a father and son, who seem to have little in common aside from DNA. So, are they trying connect via a sport like baseball, or perhaps working on a house or on restoring an old car? No, they’re taking a trip across the USA…the long way…on foot. Of course, there’s more to this journey than leisurely taking in the site from ground level. No, it’s more of a mission to stand up to the forces of ignorance and intolerance, That’s the plan of this story’s weary patriarch, a simple small-town fella’ named JOE BELL.
As this story begins, we’re right alongside Joe (Mark Wahlberg) as he’s pulling a cart that holds his tent, water, and supplies, trudging down a winding road as cars and trucks whiz past. Luckily his eldest son Jadin (Reid Miller) is always “nearby”. The two joke and tease as Joe makes it to a nearby town and addresses another gathered group about the terrors of bullying. The walks and “the talks” are all in support of Jadin. As they hunker down for the night, Joe checks in with his wife Lola (Connie Britton) back in their small Oregon town. We then flashback to earlier in 2013, before the trek, when Jadin came out to Joe, Though he was a bit befuddled, Joe didn’t reject his gay son, reaffirming his love and support. Unfortunately, Jadin felt none of that at his high school, aside from his cheerleading sisters (he’s the only male). When the jeers and harassment escalate, Joe insists that Jadin fight back, but the odds are too great. He can’t “duke it out” with almost everybody. The school administration offers no help and even suggests that he transfer to another district. Then social media trolls attack, as do the “locker room’ thugs. Joe and Connie are there for him, but can’t protect him. Eventually, Joe decides to spread the word, so he enlists sponsors to fund his walking cross-country trek. But can one man stop, or even lessen, the hate?
In the title role, Wahlberg tones down his macho heroic persona to become a believable working-class “everyman”, one whose virtue and sincerity reflect his quieter “heroic’ attributes. Through his voice inflection and awkward stares, we see Joe’s inner conflict as he pushes down the small-town small-mindedness he absorbed growing up in order to try and nurture his son. He can’t quite understand him, or his needs, but truly wants to be a “solid rock’ for Jadin. As that offspring, Miller projects his own strength and vulnerability, never becoming a “symbolic martyr”. He refuses to “blend in” while knowing that his own sense of style etches a glowing target on him. Miller makes us feel his despair as Jadin is pulled under as friends and family flail about and fumble with that needed lifeline. As the family matriarch, Britton as Lola acts as the uniting glue for father and son. She’s more on Jadin’s “wavelength’ and works to expand Joe’s sensibilities and empathy. But Britton shows us her struggles as Joe’s journey leaves her at home to lull herself to sleep with wine and cigarettes. But there’s still another youngster at home to raise. Maxwell Jenkins plays Jadin’s kid brother Joseph, who must deal with the family forces beyond his young mind. It’s a subtle sensitive performance, as “little Joe” must assume a more active role in keeping the Bells unified. Oh, and there’s a lovely “late in the story” supporting work by Gary Sinise as an unlikely kindred soul Joe encounters on that long road.
Director Reinaldo Marcus Green keeps the story moving at a brisk pace for most of its sparse 90 minutes, guiding his entire cast to good effect, and makes effective use of the varied landscapes and atmosphere, giving us a taste of all the seasons. The screenplay from Diana Ossana and Larry McMurty never hammers at the heartstrings, though the film almost sinks into melodramatic misery. With that modest runtime, a few more minutes could have been added to give us more insight. Just how does Joe convince his home area to fund his mission (though kudos for showing the ugly side of villages too often “sugar-coated” in the media, from Bedford Falls to Mayberry)? We get bits of Joe’s clunky speeches, but when he nearly gives up, we don’t get much of a listen to Joe’s “second wind” as he must face a packed school gym. Plus a silly mid-film “twist” borrowed from thrillers feels a bit tacky. The film overflows with good intentions but often comes off as a slightly grittier basic cable movie, though strengthened with Wahlberg’s star charisma (usually he saves his more serious work for the Fall). And it doesn’t help that another big “franchise” star is “dressing down” more successfully in an upcoming flick as a “working stiff” (and what does Joe do for a living). Still, the film’s message is delivered with heart and “shoe leather” by the quiet gentleman named JOE BELL.
2.5 Out of 5
JOE BELL opens in select theatres on Friday, July 23, 2021
So the family’s all together for the big holiday, well why not head over to the multiplex to enjoy a family film? And hey, “family” is even in the title. That’s what the studios are counting on, hoping audiences will go for a breezy all-ages comedy in between those somber awards contenders. Most of the time, the studios will go a couple of different ways with a “family” comedy/drama. Either it’s a multi-generational gathering of uncles and cousins like PARENTHOOD and more recently, the reviled LOVE THE COOPERS, or it’s about a family with lots and lots of kids like CHEAPER BY THE DOZEN (original and remake) along with blended families like YOURS, MINE, AND OURS (ditto), which begat that iconic TV show and its feature film THE BRADY BUNCH MOVIE. But this new flick has fewer kids and a message. The filmmakers want to give us a look at the foster parenting system (which often leads to adoption), and perhaps inspire viewers to get involved. The movies have tackled the subject, usually in “tearjerkers”, notably in 1941’s PENNY SERENADE. The kids here aren’t the typical movie kids looking for parents. They’re not plucky orphans like ANNIE, because, well, they’re not technically orphans. Lots of heart-tugging and comic complications occur when they join a couple and become an INSTANT FAMILY.
Pete (Mark Wahlberg) and Ellie (Rose Byrne) are a fun-loving married couple in their thirties (can we still call them “yuppies”) who work together as “house flippers” (buying run-down homes, fixing them up, and selling them for profit). As they’re showing off their newest property to Ellie’s pregnant sister and her hubby, a causal comment gets them pondering. Ellie and Pete think that maybe they should start a family. Or maybe not, as Pete wonders if he could keep up with a newborn. This prompts Ellie to consider fostering a child. After scanning and viewing countless adorable tykes online, they call the local fostering center. There the duo meets another duo, social workers Karen (Octavia Spenser) and Sharon (Tig Notaro), who welcome them into a class for prospective foster parents. After several sessions with the other couples, it’s time to meet the kids at a big foster parenting picnic, sort of a mix and match. Pete notices that the tots and pre-teens are getting all the attention while the teenagers are left to mingle amongst themselves (as Pete crudely comments, “People are avoiding them like they’re dipped in s#*t!”). One of the teens, Lizzy (Isabela Moner) overhears this and fires back with a snarky retort. That seals it for Ellie and Pete, they want to foster her. Ah, but there’s a hitch! Lizzy doesn’t want to be separated from her two younger siblings. A “package deal”. No problem as the couple takes in Lizzy, her twelve-year-old shy, insecure brother Juan (Gustavo Quiroz) and high-spirited six-year-old sister Lita (Julianna Gamiz). This “instant family” endures many highs and lows as Ellie and Pete hone their parenting skills. The main challenge is Lizzy who pushes back against the duo. Then things get really complicated when the kids’ birth mother is released from a court-ordered drug rehab program. Will the kids go back to live with her? And will Pete and Ellie be able to let go and do what’s best for the trio?
Wahlberg and Byrne have an effortless chemistry, making you wonder why these two talented actors haven’t been paired up before. As the energetic, firmly focused Pete, Wahlberg has smoothed out some of the rougher edges of his usual screen comedy persona, as in the often coarse TED and DADDY’S HOME, film to give us an affable everyman, a “good Joe” eager to accommodate though his enthusiasm often gets the better of him. The same can frequently be said for Byrne’s Ellie who’s just as smitten with these new additions to her life. And she can “go off the deep end” at times adding a little bit of zany spice to the couple’s partnership (they each know just when the other is losing focus). The duo has a formidable sparring partner in Moner as the strong-willed teen Lizzy. She’s not as easily won over as her siblings and rankles when the “pretend parents” doubt her method of dealing with the wee ones (Lizzy’s been their protector for seemingly quite a while). But Moner also shows us the vulnerable side of Lizzy, as she starts to let her guard down and embrace this home before “catching herself’ and “shutting that door”. It’s a complex role that this impressive young actress handles with great skill. There’s another great duo in addition to Pete and Ellie, and that’s Spenser and Notaro as the Oscar and Felix of social workers, Karen and Sharon. Spenser “shoots from the hip” with a boisterous “no B.S.” attitude while Notaro is the quieter, “by the books” guide to fostering challenges. Though their methods differ, both are committed to the same goal and provide some of the film’s best laughs. Speaking of inspired match-ups, kudos for casting the stars of the two biggest comedy hits of 1980 as Ellie’s parents, Julie (AIRPLANE!) Hagerty and Michael (CADDYSHACK) O’Keefe. Hagerty has an ethereal child-like, loopy air as Jan in stark contrast to Margo Martindale as Pete’s “steamroller” mother, Sandy. This “force of nature” provides another source of comic conflict as she tries to get everything and everyone back on track. Quiroz is endearing as the jittery Juan who over-apologizes as he frets over any misstep, while Gamiz is adorable and often exasperating as “I only eat chips” Lita. Aside from Notaro, several other stand-up comedy stars pop up in supporting roles, such as Tom Segura as trouble-maker Russ and particularly Iliza Shlesinger as the single parent foster candidate October, who has a very specific list of requirements for his desired child.
Comedy film veteran Sean Anders (HORRIBLE BOSSES 2 and the DADDY’S HOME flicks) gets the most of the slapstick situations and keeps the pacing fast and frantic for funny “throw-downs” and verbal fights. But he handles most of the dramatic scenes with equal ease. making a simple scene of Ellie gently brushing Lizzy’s hair very moving and warm. The film’s main flaws seem to come from the script he co-wrote with John Morris. As we many comedies, especially domestic life sagas, the story feels like several episodes of a TV situation comedy crammed together, though with the fostering classes and at home adjustments and problems, it could be two separate sitcoms thrown in a mixer. There are the wacky potential parents butting up against Ellie and Peters’ challenges and triumphs. Big conflicts are brought in (Lizzy is “sexting”), then quickly dismissed with a gag and forgotten. The birth mother is introduced for the climactic final act, but she has little to do other than acting uncomfortable and staring listlessly. The biggest misfire is the film’s big emotional finale. As the principals are pleading and pouring their hearts out, the wacky down-the-street neighbor wanders in, almost as if from another movie, to sabotage the pathos with some awkward (I really enjoy this comic actress, but her annoying role baffled me) asides. This scene is immediately followed by an uplifting epilogue that brings in almost the entire cast for a feel-good finale that would’ve seen cloying and contrived in a 60’s sitcom. I will give them points for discussing the “white savior” aspect of this and even name-checking THE BLIND SIDE, but this doesn’t excuse the many loopy bits of whimsy (who tries to douse a fire with ketchup when several glasses of water are within reach). This movie is full of good intentions as it encourages childless couples to consider the foster system, but it doesn’t make for a consistent comedy or drama. INSTANT FAMILY isn’t instantly forgettable, but it’s not the movie that the noble subject deserves.
