Tag: Romantic Comedy

ROOFMAN – Review

Channing Tatum and Kirsten Dunst star in Paramount Pictures’ “ROOFMAN.”

This weekend sees the release of a most unusual true-crime story. Yes, it’s got the standard details of a lawbreaker’s plans and motives (yup, filthy loot), but it’s more than that ole DRAGNET cliché of “Just the facts”. No, it takes lots of twists and turns, even making a detour into comedy (often slapstick) and romance (thanks to the sprightly pairing of the two leads). But don’t let its title mislead you, because the fella’ here known as the ROOFMAN is certainly not a spandex-clad “superguy”, though he’s not a super villain either. Mostly…

The film opens with the title guy doing his “thing”. Former US Army Reservist Jeffrey Manchester (Channing Tatum) scopes out a busy suburban McDonald’s as it closes for the night. After the workers depart, he heads to the roof and bashes a big hole so that he can drop in. From there, it’s a waiting game until the morning crew arrives. Jeff springs out wearing all black (including a ski mask) and brandishes his rifle. After the manager gives him the cash from the safe, Jeff instructs them to grab their coats and head to the walk-in cooler. But the manager doesn’t have one, so Jeff gives him his black jacket (he’s also dubbed the “gentleman robber”), then dashes away (and calls 911 to get his victims rescued from the cold). From there, the story backtracks to Jeff struggling to make ends meet for his wife, pre-teen daughter, and twin toddler sons. Taking inspiration from his Army pal Steve’s (LaKeith Stanfield) illicit schemes (phony IDs and passports), Jeff begins his retail and restaurant robbery spree. But the law catches up to him. Due to the whole “locking folks in freezers” MO, Jeff is convicted of armed kidnapping and given a hefty sentence. He quickly learns that his spouse has cut out contact with him (Jeff is quite a “girl daddy”). Using his observation skills from the service, he slips out of prison, and contacts his pal Steve, who tells him that he’s too “hot” and to contact him in a month about setting Jeff up with a new identity. What to do over those thirty days? A nearby Toys ‘R’ Us shop may be the answer. Near closing time, Jeff hides via the bathroom ceiling tile. He emerges after the store is closed, disables the security video system, and uses the space behind the bicycle display as his daytime hideaway. He also sets up video baby monitors throughout the store. One day, Jeff is aware of a sweet single mother on the staff. He sees Leigh (Kirsten Dunst) plead with her prickly boss Mitch (Peter Dinkledge) to let her take some discarded, unsellable items for her church’s toy drive. Mitch refuses, so Jeff figures out a way to exit and re-enter the store during the day. He shows up at the church to drop off his bag of goodies, but a member insists that he join the service. He spots Leigh in the choir, and at the post-service spaghetti lunch, Jeff (calling himself John) strikes up a conversation. A romance quickly ensues. But can he dodge her questions and the police? And what will happen when Steve returns? Will Jeff flee or pursue a new life with Leigh?

Once again, Tatum proves that he’s much more than his superb dancing skills as he ramps up the charm (and “rizz”) as the “man on the lam”. Actually, his Jeff/John just entrances almost everyone he meets, and even some of those crime victims, as he deftly sidesteps inquiries and contemplates his next move. But Tatum also shows us this man’s inner conflict and heartbreak over losing contact with his kids. Fortunately, he enjoys a surrogate fam via his relationship with Leigh, given a bouncy sweetness by the still endearing Ms. Dunst. It’s nice to see her step away from her recent somber, dramatic roles, although Dunst can certainly bring the tears in the emotional third act. A big entertaining asset is the great Dinkledge, who makes Mitch a very funny “retail dictator” as he glowers at his “slacking underlings”. Stanfield brings a dangerous, tough energy to the no-nonsense Steve. It’s a shame that the bubble Juno Temple (so great in “Ted Lasso”) doesn’t have more to do as his ditzy beautician GF. On the other side of the law is the inspired pairing of Ben Mendelsohn and Uzo Aduba as the affable Pastor John (at Leigh’s church) and his nurturing wife Eileen (going against the notion of Hollywood deriding the ministry). And stand-up comic Jimmy O. Yang delivers some laughs as a frazzled used car salesman.

Like Dunst, this is much lighter fare for director Derek Cianfrance, perhaps best known for THE PLACE BEYOND THE PINES and BLUE VALENTINE. He displays a real flair for breezy comic set pieces, especially when Jeff becomes the nighttime ruler of “toyland” as he wastes the pre-dawn hours tossing teddy bears and scarfing peanut M&Ms (better than all the jars of baby food). Ditto for the initial dating of him and Leigh. But it eases into a few clichés, especially with her two daughters. The pre-teen is sweet and adorable, while the sixteen-year-old is the usual surly, snarky “demon spawn” overused in so many shows. I suppose this is there for conflict so that Jeff has to “work” to win them all over. This precludes a lull in the pacing, as the movie “spins its wheels” as Jeff gets a new set of wheels. Really, the film could have used a good fifteen or twenty-minute trim on the ole’ editing bay (well, probably all computers now). This leads up to the very sobering and sad finale, in which Jeff reverts to his criminal ways. The film doesn’t give him a “pass” since he’s really a good guy with Leigh and her kids. He “fesses up” that he’s a bad guy even after the filmmakers work diligently to make him the hangdog hero that we “root for”. No, he’s a criminal who takes the hard-earned money of others while waving a weapon. And if not for the high-caliber cast, this might have been another made-for-cable-TV bit of fluff. However, fans of Mr. Tatum and Ms. Dunst may enjoy and be moved by the true-life modern fable of the ROOFMAN. Oh, and be sure and stay for the end credits, which include lots of footage of the real folks.

2.5 Out of 4

ROOFMAN is now playing in theaters everywhere

FLY ME TO THE MOON – Review

Yes, I see that title and I immediately picture “ole’ blue eyes”, a trench coat draped over a shoulder, crooning that catchy 1954 Bart Howard classic. And that’s just what the producers want to evoke, to get you in a nostalgic mood for a frothy romance set against the backdrop of the “space race”. Mission accomplished, but could a “rom-com” really work against the somber historical backdrop we’ve seen in heavy, serious films like FIRST MAN, A MILLION MILES AWAY, HIDDEN FIGURES, APOLLO 13, and the HBO miniseries, “From the Earth to the Moon”.Now, that’s the trick, much like the possible results facing NASA, Will it blast off or crash land? But it’s “star power” rather than rocket fuel that propels FLY ME TO THE MOON.

Modern movie audiences need a short primer on events 55 years ago, and the filmmakers provide a brief one for the film’s prologue, In 1968 the “whiz kids” in Cocoa Beach Florida are rushing to make good on JFK’s promise to land a man on the moon before the end of the decade. Leading the “brainiac bunch” is former fighter pilot Cole Davis (Channing Tatum) whose steely determination stems from his part in the tragic events of Apollo One a few years before. The story shifts to NYC as we meet advertising/marketing expert Kelly Jones (Scarlett Johansson) who has just “put one over” on some auto execs. But her celebration is brief when she’s exposed by Nixon’s “special operative” Moe Berkus (Woody Harrelson). Why? Well, he has a bigger client for her and her trusty aide Ruby (Anna Garcia) because the Prez needs help “selling” the space program to the populace. The women fly down to Florida in time for Kelly to have a “meet cute’ with Cole at Wolfie’s Diner. Things take a sobering turn when they meet again, as Cole has little time or respect for their publicity plans. But they finally realize they must work together to get the money pipeline flowing from a stubborn group of congressmen. But then their renewed attraction is almost snuffed out by the return of Berkus who tasks Kelly with creating a “set” where they can film a phony moon landing, in case Apollo 11 fails. Can she get everything together for this fraud without Cole finding out? Or will she listen to her heart and do the right thing for “the right stuff”?

That aforementioned “star power”? That is ably supplied by the pairing of the lead duo at the center of the plot, bringing true sparks to the often formulaic rom-com genre. Tatum proves that he’s got more dramatic depth than you might gather from his mesmerizing moves as MAGIC MIKE. He projects an “old school” screen hero’s sense of decency as the project-focused Davis who has a huge weight on his shoulders that could be erased if he can get this job done to honor his fallen teammates (the first trio) and perhaps his “captain”, who set the stage but can’t be there for the finale. Not surprisingly, fun and romance are neglected until he meets her. In a nice twist on the genre’s conventions, Johansson’s Kelly is the free spirit with shaky morals who lightens the load for Cole, who helps her regain a sense of right and wrong, putting honor before profit and chipping away at her cynicism (in her first scenes, Kelly is almost a “Donna Draper” in a riff on “Mad Men”). This role really taps into the charm she gleaned in her MCU role of the Black Widow.


The “support team” is led by the always interesting Harrelson whose laid-back persona is given a dangerous edge as a quip quickly morphs into a threat, punctuated by his black attire and ever-present switchblade (to slice citrus for cocktails, of course). And there’s some great work here by two other TV sitcom vets. Ray Romano uses his hangdog everyman charisma as Cole’s right-hand man, who feels more like a proud “uncle’ as he fills in the “backstory” for Kelly. The biggest “scene stealer” is Jim Rash, an Oscar-winning screenwriter but forever Dean Pelton of “Community”, as Kelly’s snippy, flamboyant director Lance Vespertine (the name speaks volumes) who brings a bitchy sense of camp to the fairly somber “conspiracy”. Kudos also to the “junior squad” led by the energetic Garcia who can’t suppress her hippie leanings along with the NASA comic tag team of Donald Elise Watkins and Noah Robbins who provide a great jolt of manic comic energy.

Kelly Jones (Scarlett Johansson) and Cole Davis (Channing Tatum) in FLY ME TO THE MOON.

Guiding this talented ensemble is someone who’s best known for being a guiding force on the TV versions of several DC superheroes (streaming and broadcast), Greg Berlanti. This is actually his third feature film and a big dive into the mainstream as he harkens back to the “above the title” pairing of classic movie couples (Gable and Lombard, Bogie and Bacall, Tracy and Hepburn). Despite the somewhat lengthy 132-minute runtime, he keeps the story from Keenan Flynn and Bill Kirsten that Rose Gilroy crafted into a screenplay from getting too slogged down in space nostalgia. Like that neglected 80’s classic THE RIGHT STUFF it highlights the awe and wonder along with wit while mixing in the movie “mating rituals”. But it doesn’t leave out the sense of danger with several flashbacks to that fatal pre-launch tragedy to the hovering Berkus who could be more “spook” than a spy. The time period is recreated very well, though it may seem that it’s the early 60s since the engineers all have the white shirt/thin black tie basic except for the pseudo-turtlenecks favored by Cole, perhaps to set him apart or to better highlight Tatum’s rugged physique. As for Johansson, Kelly appears to channel Marilyn Monroe in her early makeup and hairstyles (those blonde “bobs” are dazzlin’) but she “loosens up’ by the finale, perhaps to reflect the changing times and her embracing a new “morality”. Unlike the teaming of Gosling and Blunt at the start of the Summer, this pair really connects as they size up each and verbally spur before the big “clinch”. The great “needle drops” of classic tunes really help “seal the deal” and send Kelly and Cole piloting fans of retro romance soaring “among the stars” in FLY ME TO THE MOON.

3 Out of 4


FLY ME TO THE MOON is now playing in theatres everywhere

THE IDEA OF YOU – Review

With the tsunami of action blockbusters flooding the multiplex, you might think that the movie studios have forgotten that Spring (despite some near ninety-degree days) is the season for romance. So, where are the love stories? Actually, this new one is only streaming, though it’s certainly worthy of a theatrical run, After all, it stars an Oscar-winning actress and its director has made two films that “took home the gold” (not for him, but for the lead actress and a pair of married screenwriters). Plus it’s based on a popular novel, though in many ways it’s a modern media gloss on a fairy tale. Mind you, the “princess” is unlike any we’ve met as this is more of a MAY/DECEMBER pairing (minus the tons of angst of that flick from last year). Like that classic Nat King Cole tune, each of these unlikely lovers is smitten with THE IDEA OF YOU.

We first meet one of the “yous” in the film’s opening scene. She is Solene (Anne Hathaway) a forty-year-old (we drop in on the big B-day festivities) divorced mom who runs a small retail art gallery in the LA suburb of Silver Lake. To treat herself after the milestone, she’s going on a solo camping trip while her almost sixteen-year-old daughter Izzy (Ella Rubin) will enjoy a VIP pass (along with her two best pals) at the Coachella music festival courtesy of her remarried lawyer Papa Daniel (Reid Scott). Naturally, after the “hand-over” drop-off to her ex, just as she begins to load the car, Daniel pulls up with the trio saying that a work emergency popped up and she needs to be their escort. Aaargghh! Solene’s no fan of the line-up, which is topped by Izzy’s former faves, the “boy band” August Moon, but she’s a good mom so she drops them off in the audience’s grounds, while she retreats to the VIP pass-holder tent. After getting some confusing directions to the restroom, she enters one of the main trailers and is soon shocked when there’s a tapping on the bathroom door. Turns out that she’s in the private deluxe digs of one of the heartthrobs of “AM”, 24-year-old Hayes Campbell (Nicholas Galitzine). The duo engages in some flirty small talk before Solene joins Izzy and her crew for AM’s “set” (where Hayes makes strong eye contact with Solene during a song dedicated to “someone special he just met”). Ah but it’s soon time to get back to the “grind” for her at the gallery. Things are pretty normal until they get a very special “customer”: Hayes. With the pretext of needing to fill the walls of his new home, the two spend most of the afternoon together, going from an artist’s storage space to Solene’s home for Lunch. After a tender kiss, she pushes him away, saying a date would be absurd, so Hayes departs after leaving his pricey wristwatch behind. This gives him an excuse to text her and invite her to join him on AM’s world tour. Hmm, he bought out the gallery spurring a temporary closing, so why not? Solene doesn’t tell anyone, even Izzy, and the duo enjoy a whirlwind worldwide secret romance. Can they make it work despite the big age gap? More importantly, what will happen when the paparazzi finally catches them?

The role of Solene proves to be a terrific showcase for the talented Ms. Hathaway, who we’ve not seen enough of on the big screen (she took some ‘family time”). Coming off her work as the slinky, seductive Rebecca in last year’s EILEEN, Hathaway now puts a spin on a down-to-Earth working woman who gets a new chance at romance and the “glamorous life”. So, it’s a bit of a spin on Cinderella, though Solene needs no magical fairy godmother, nor does she need to be rescued. We can see her delight in really being appreciated by Hayes, which leads to a big conflict. Hathaway shows us that Solene’s not sure if she really deserves it (she so does). We see that battle between her mind and heart in her expressive eyes. Plus Hathaway uses her sharp comic skills, whether bantering with Hayes, dealing with a long line of dull, but age-appropriate suitors on her birthday, or giving her ex a verbal smack-down while rebuffing her new wife’s desire to start a friendship. At one point, Solene is intimidated by the twenty-something girlfriends of Hayes’ bandmates, though we can see that she should harbor no insecurities. Hathaway’s a dream for any suitor.


And Galitzine fulfills that part very well as the soulful dreamboat Hayes, who descends from his “castle” to reach new heights of passion with the ‘stunner from Silver Lake”. Sure, he projects confidence, yet he somehow has a vulnerable side, not sure if Solene will accept him. And in another twist on Cinderella, he’s the one leaving a glass slipper behind, though it’s a sparkly bit of male jewelry. On the other end of the male spectrum, Scott oozes smarm and arrogance, much like his “Veep” role, as the pompous ex-hubby Daniel. It’s no wonder his current spouse, played with great comic disgust by Perry Mattfield yearns to be pals with Solene. But her BFF is daughter Izzy, played with great energy and humor by Rubin. That’s until the news breaks on her mom’s new beau. She conveys the hurt in Izzy’s eyes, not at the pairing but at the pain of her mother not confiding in her. The story also benefits from the comic work of Annie Mumolo as Solene’s other pal Tracy, though her screentime is reduced to make room for the romance.

The lauded director I mentioned earlier is comic actor Michael Showalter, and those Oscar-winning films are THE EYES OF TAMMY FAYE and THE BIG SICK. He also worked with actress Jennifer Westfeldt in adapting Robbine Lee’s book, which expertly mixes wit (though boy bonds are a fairly easy target for laughs) with a swoony, delirious romantic fantasy. Hey, who wouldn’t want the “high-life” though the story shows that it comes with a price. This occurs when the relationship is “out”, allowing Showalter a chance to skewer social media in a dizzying montage that uses clever pixelation of screens, phones, and pads, where Solene is digitally dragged through the mud by anonymous vultures pecking at her flesh (and moral character). She’s now a conniving callous cougar that has ensnared the naive tunesmith. Daughter Izzy is even caught in the firestorm at school. But Showalter doesn’t let the “influencers’ drag down the “high spirits” of the story’s bouncy “meet cute” or the verbal dance of the duo in the art world. The director and the writers provide us with fun, and frivolity while actually taking a sharp stick to online outrage. And they never lose focus on the engaging couple that is the beating heart of the tale, who also bring that simmering chemistry, that often makes us lightheaded at THE IDEA OF YOU.

3 out of 4

THE IDEA OF YOU streams exclusively on Amazon Prime Video beginning on Thursday, May 2, 2024

ELEMENTAL (2023) – Review

When thinking of the animation process, we naturally think of giving movement to characters created by artists using pencil, clay, puppets, and now, most prominently, pixels. Sure, that’s a literal interpretation, to “breathe life” into these renderings. A big part of this art goes beyond the main figures as the talents must create a “world” for them, one that can mesh with their designs and the story itself. With the most recent hit animated feature, we’re taken on an dizzying trip in multiple worlds, many which resemble our home. Expanding on classic cartoon shorts (“Flowers and Trees” certainly springs to mine), the creative minds at Pixar Studios have imagined settings for objects “humanized”, from the motor maniacs of the CARS series to the “interior concepts” of the emotions of INSIDE OUT and the afterlife of SOUL. In this new release, we’re sent into a place without “us”, Instead it’s variations of the “big four”: earth, wind, fire, and water, hence its title ELEMENTAL.


The story begins with a brief history of one part of the quartet, fire. Actually, it’s a “fire family” who arrive at Element City’s version of Ellis Island, where they’re given the name “Lumen”. The couple, Cinder (voice of Shila Omni), who is “with child”, and Bernie (Ronnie Del Carmen) head straight to the Fire Town district and convert a condemned building into “The Fireplace”, a general store/deli for “heat stuffs”. As the years pass it becomes a neighborhood fixture as the Lumen daughter Ember (Leah Lewis) is groomed to “take over the family business”. She’s even put in charge of the big annual “red dot” sale when a burst pipe nearly destroys all the stock in the basement. And even worse, the flooding brings a “by the book” city inspector, the “water-born” Wade Ripple (Mamoudou Athie), who may get the store shut down. Luckily Ember controls her temper and convinces Wade to ask his boss, the big stormy cloud Gale (Wendi McLendon-Covey) to grant a temp reprieve if they can track down the water backup. The duo works together to find and fix (for the moment) a busted overflow reservoir from the flume-like transit train. But as they team up on the repair mystery, the unthinkable happens. Ember and Wade develop feelings for each other. So what will their family think of this forbidden romance? Is there any way to make it work? And will these emotional complications distract them from another possible disaster that could jeopardize the entire city?

As opposed to most of the other major feature animation studios, the filmmakers of Pixar don’t do a lot of “stunt casting”, the practice of getting high-profile “star names ” to voice their creations. Rather, they once again, find those vocal performers that convey the nuances of their roles. That’s the case with relative newcomer Lewis, who certainly brings the “fire” to Ember (sorry), especially as she loses her temper and succumbs to “retail rage” (guessing that’s a “thing”) when trying to run the family “biz’ and wrangle the often clueless customers. But she also delivers a tenderness, and yes, warmth as she aids her loving parents and later as she ignites that spark between her and Wade. As the, at first, overbearingly officious Mr. Ripple, Athie is very funny as the twitchy and easily exasperated “meter reader” who is quick to “turn on the waterworks” (really, the tears careen from his eyes like Niagra Falls). And he undergoes a change after meeting Ember, more than making his fluid fingers boil, as he becomes emboldened and learns to stand tall and fight for his new paramour. The talented animation artist Del Carmen proves quite adept and endearing as the Lumen patriarch, the tough and tender “girl daddy”. As for the Ripples, comedy legend Catherine O’Hara is bubbly (yes) and delightful as Mama Brook. Much of the same can be said of the terrific McLendon-Covey as Wade’s blustery boss who is equally devoted to keeping Elemental City running smoothly and safely and her favorite sports team the wondrous Windbreakers.

Once more the artistic assembly at Emeryville, CA has carefully crafted an amazingly beautiful story set in a marvelously clever and beautifully rendered fantasy world. Elemental City is truly a dream come true, recalling the familiar expanses of the Big Apple while branching out into amusing bits of whimsy (gotta’ get the big coffee table “art of” book to savor all the signage). Oh, and that’s not meant to detract from the astounding character designs and movement. Ember, along with her fire family and friends, recall a flickering flame as her limbs and head are in constant flutter along with her facial features (I would focus on the wavering noses and eyes), all held together by clothing made of a nonflammable material (perhaps a bit of hard leather). Wade and his water world move about as though they were translucent balloons almost bursting with liquid rolling forward on a trickling rolling stream (with interior bubbles always on the move), and given heft by rubbery bits of clothing (he’s gotta; have a nice work shirt and tie). Gale and the gasses float about and burst into smaller clouds before reforming with their outer edges twisting in the breeze. But what about Earth? They’re solid (literally) with heads made of dirt clods with noses and eyes as roots and grass for hair. Without a script it’s all lovely “eye candy”, so the writing quartet has concocted a witty script that tries to capture the themes of lovers who aren’t supposed to unite (lots of WEST SIDE STORY along with other racial/culture clashes) and delivering a not-so-subtle message about xenophobia, as the Lumen family is often treated with fear and anger (“Their kind is dangerous”). These subjects are worthy of tackling in this medium, but it often takes away from the story’s flow as the big “action crisis” is jettisoned for the film’s middle act and feels dropped into the finale to give it a shot of disaster danger (complete with a big chase). After the recent non-stop thrills of the Spider-Verse, the pace may seem a bit too languid, but it’s a big improvement over the lackluster LIGHTYEAR of the previous year. It doesn’t quite have the emotional wallop of many of the Pixar classics, but there are lots of visual delights and clever storytelling to be enjoyed in the bubbly and nearly boiling ELEMENTAL.

3 Out of 4

ELEMENTAL opens in theatres everywhere on Friday, June 16, 2923

GHOSTED (2023) – Review

Hard to believe, but we’ve not taken a trip into “rom-com” land in 2023. Really? Has this staple been dormant for several months, but with those warmer Spring temps, well, where do most hearts venture? Oh, and since we’re getting nearer to Summer this one’s a hybrid as it’s really a “rom-com-spy-thriller”.This isn’t rare as we’ve seen this played out for at least 30 years, going back to Arnold and new Oscar darling Jamie Lee in TRUE LIES (which inspired a recent CBS TV series). And in the last dozen or so years we’ve had the big “spy reveals” in KNIGHT AND DAY (Tom Cruise) and KILLER (Ashton Kutcher), not to mention the double reveal in MR. AND MRS. SMITH (Bradgilina begins). Well, this new one has a bit of a twist in that the undercover agent is a lady. Plus it also takes a few jabs at modern dating rules and manners, using the social media “online verb”, GHOSTED.

The lady in question is Sadie Rhodes (Ana de Armas) who is feeling down as she returns to her Washington D.C. home after a tough “work trip”. She’s got to stock her fridge, so she drops in at a local farmer’s market. Manning the houseplant stand for a neighbor merchant (after she chides him about his latest dating “dump”), Cole Turner (Chris Evans) tries to help Sadie pick out a potted plant, which leads to a disagreement (she can’t nurture it) that someone ends as a day-long (into the night) first date. Back at his parents’ house (he’s helping out at the farm after his pop was injured) Cole is bummed that Sadie’s not returning his voicemails and texts. His kid sister insists that he’s been “ghosted” for being “needy”.Aha, he accidentally put one of his inhalers in her purse that day and it has an online “tracking” chip. So where is she? OMG, London! His folks encourage him to make a grand “romantic gesture” and since Cole’s got an old airline voucher, so…Across the pond, Cole hones in on a secluded spot where she should be. Instead, he’s jumped and drugged by a quartet of muscled goons. When he awakens, a grinning creep threatens Cole with torture unless he gives them the passcode for something called Aztec. Luckily a black leather-clad hooded hero swoops in with guns blazing. When the dust settles, and his bonds are cut, Cole is shocked to see that his rescuer is Sadie! She’s not an art curator, but rather a CIA operative code-named the “Taxman”. Somehow they have to get past the awkward dating etiquette (“Emojis count as texts”), get Cole out of Pakistan (he was “out” for a while), and stop a ruthless French arms dealer named Leveque (Adrian Brody) from selling the destructive Aztec device to the highest bidder. And then maybe, maybe there’ll be a second date.

Of course, the main component to make a rom-com work is the chemistry of the two leads. Aside from being incredibly photogenic (I can imagine animated hearts floating from the lens), there’s genuine affection present, even as they bicker, as we get hints of the tension increasing the desire. Evans channels the affable charm he projected as the first Avenger into a not-quite-cool everyman (but with the “ultra-handsome). Sure it’s tough to believe Cole’s poor dating history, though the awkward, often clueless demeanor hints at a reason. And Evans does sell the whole “out of his element” vibe, although we’re reminded that Cole was a high school ‘rassler. At least the promise of de Armas as an action goddess has been realized here after her too too brief role in the last Bond flick. She’s super cool and sultry as she dispatches the baddies, plus she too kicks in the charm key in the romantic first meeting “dance” around Evans. Sadie’s an enigma for most of the story, so de Armas really brings out her vulnerability when she finally opens up about her past and her current “occupation”. Brody camps it up as the effete sneering villain and is given great support by his main henchman, the cold-blooded, threatening Mike Moh as Wagner plus Tim Blake Nelson channeling his inner Peter Lorre as the sadistic Borislov (nice name). Though seeming a bit too youthful to be Cole’s folks, Tate Donovan and Amy Sedaris are warm and befuddled as the parents, while Lizzie Broadway brings the right amount of sassy snark to the role of Cole’s kid sister.

After scoring big hits in the musical bio genre with ROCKETMAN and as the rumored backup for BOHEMIAN RHAPSODY, director Dexter Fletcher deftly juggles the rom-com beats and the big action set-pieces. He eases into the changes in tone to insure viewers won’t feel a “whiplash’ in going from the comedy to the explosive thrills. And the film benefits greatly from the many delightful cameos, but I won’t spoil them (perhaps some of his MCU brethren…mmm). Fletcher really gets his leads to commit to the adventure, but they can’t quite get past the uneven script as it begins to echo sequences in superior action epics, with a ludicrous finale that apes a Hitchcock classic (the old merry-go-round). And what adult would really think that traveling across the world after a first date is a great idea (for once the kid sister is right)? Obstacles are predictably tossed in the couple’s path, but we’re sure that there will be last-minute reunions and that Cole will “step up” to be worthy of Sadie’s love and respect. Evans and de Armas are a terrific pairing, but they deserve something more original and clever than the rehashed cliches of GHOSTED.

2 Out of 4

GHOSTED streams exclusively on AppleTV+ beginning on Friday, April 21, 2023

TICKET TO PARADISE – Review

Still Photography on the set of “Ticket To Paradise”

Hmmm, now this is something pretty rare. The two films I’m reviewing for this weekend have a few things in common, “subject-wise” (y’know, aside from being in color, being a “talkie”, etc.). This too concerns an estranged couple reuniting for a non-holiday event. With RAYMOND & RAY, it’s about two stepbrothers having to travel to their dad’s funeral, while this new release is about an estranged (long-divorced) parents having to travel to their daughter’s wedding. And it’s not a two-hour car trip, but a rather long flight to an exotic island. Oh, and the former marrieds are played by Oscar-winning Hollywood royalty, or about as close as you can get to that. Plus it’s their fourth flick acting opposite each other (fifth if you count when he directed her). So lots of moviegoers are hoping that their chemistry is still potent as they go to their multiplex box office, or more likely its website, to purchase a TICKET TO PARADISE.

In a bit of a switcheroo, the story begins with the main couple still apart. Each is telling their best buddy about how impossible it was to live with the other (with widely different riffs on their meeting, courtship, etc.). This all leads back to them being “pulled back in” by their only child Lily (Kaitlyn Dever). She wants them both in attendance for her law school graduation ceremony and assures them that their reserved seats will be in distant sections of the auditorium. So the big day arrives and …David (George Clooney) begrudgingly takes his place right next to his ex Georgia (Julia Roberts). Then the duo takes their daughter, along with her best pal/college roomie Wren (Billie Lourd) to the airport for her post-grad “vacay” to Bali. Her parents heave a sigh of relief as the ladies enter the gate, knowing they won’t have to endure each other for a loooong time (or so they hope). Lily and Wren have “tons o’ fun” until they get separated from their tour group while snorkeling. Luckily the long swim to shore is avoided when they spot a boat. And the luck keeps rolling along as Lily is immediately smitten by their rescuer, a hunky young seaweed farmer (there’s such a thing) Gede (Maxime Bouttier). Soon she’s contacting her folks again to invite them to her “destination wedding” to him. And, wouldn’t you know it, they get booked in the same section, on the next flight to the island. Plus (talk about a “co-inkee-dink”), the pilot is Georgia’s much-younger French “bae” Paul (Lucas Bravo). When the duo arrives they cease their bickering long enough to agree to join forces to stop this too-hasty nuptials (she’s throwing away her law career, darn it). But can these former feuding lovers really work together, or can true love really triumph against such formidable forces?

So the best description of the acting style of the two leads may seem like an insult, though it’s certainly not my intention. As the film progressed I feel as though Ms. Roberts and Mr. Clooney were, well, …coasting. It’s not that they weren’t making any effort, but rather they’re so confident and “at ease” with their screen personas that they were just going “with the flow” feeling that their audience will follow their path. This certainly was the case for many classic screen pairings of the “Golden Age” such as William Powell and Myrna Loy or Spencer Tracy and Kathryn Hepburn. It’s not just that their characters engage in playful sniping at one another. In a couple of sequences, they talk about the dissolution of their married union with remorse and regret. And their uneasy alliance results in some truly awful behavior. Yet somehow the screen personas of the two can elevate even the frothiest of premises. This audience goodwill carries over a bit to their screen sibling as Dever scores many laughs in the ingenue”second-gen” role. She’s engaging, but it feels like a bit of a “step back” after her “take charge” snarky smart turn last week in the Shakespearian farce ROSALINE, which far fewer people will see since it went straight to Hulu. Dever delivers, but the role is no challenge for her skills. Happily, she’s often paired with Lourd as Wren who brings some much-needed off-kilter energy as the rom-com cliche, the “hard-partying” frisky BFF. Speaking of another rom-com cliche, the very photogenic Bravo gives the thankless role of Paul, the “Baxter” who’s not much of a romantic threat, though his best efforts make him more sweet and endearing than this clueless doofus deserves. As for the groom Gede, Bouttier is the required gorgeous and way-too-understanding “dreamboat” who’s got a boat.


Another rom-com vet is at the helm, namely Ol Parker who last gave us the MAMMA MIA sequel. Oh and he co-wrote this with Daniel Pipski, it took a “tag team” to concoct this “lighter than air” trifle. Again, this is not meant as a “burn” as many will enjoy this while in their cushy multiplex recliner, but the plot specifics will probably evaporate from the brain during the ride home. Well, you may ponder a trip to Bali as it’s eye-poppingly beautiful here, though much of it was actually shot in Queensland, Australia (a good ad here for their own travel industry). This may be the best current example of an “auntie” or “grammy” movie as it’s a way to treat a relative to a matinee that won’t upset them (or tax the noggin), despite a blink and you’ll miss it “F-bomb”. The back-and-forth snipping between the leads gets tiresome, but it just goes to prove how powerful, and forgiving, the chemistry and charisma of these two movie icons are. They’re truly the reason why many fans will believe their theatre stub was a TICKET TO PARADISE.


2 Out of 4


TICKET TO PARADISE is now playing in theatres everywhere

BROS – Review

So what if Valentine’s Day is nearly five months away, any time of the year can work for the right romantic comedy (or “rom-com’, its modern genre term). Actually many moviegoers would enjoy seeing an engaging couple meet cute as they try to keep warm on a blustery Fall afternoon. And that’s just what happens with this weekend’s big film release. Oh, things are a bit, no a lot, different this time. It’s not “boy meets girl”, but rather boy, no “man meets man”. Yup, it’s a gay rom-com, though they’ve been supporting players in past flicks, often the next-door neighbor (nuzzling a kitty) or the co-worker who’s cheering on the leading lady (“You go, girl!!”). Not this time. and as one of the film’s co-stars (and co-writers) has been telling talk show hosts and showbiz reporters, there’s a lot riding on this. The major studios are curious to see how the audience will react to a funny love story centered on two very mismatched BROS.

The first part of the duo we meet is the story’s narrator, a pessimistic outspoken podcaster (he’s the host of “The 11th Brick”, a reference to Stonewall), Bobby Lieber (Billy Eichner). He’s got many friends, but aside from late-night phone app “hook-ups”, he’s not found that special “one” (though he denies that he’s looking). And then he saw Aaron Shepard (Luke Macfarlane) dancing shirtless at a club, looking as though he just arrived from Mt. Olympus. Their first encounter is a bit awkward, But Bobby detects a “spark”, though Aaron seems to vanish like Claude Rains (look him up, kids). Eventually they exchange digits and begin a long series of texts to “feel each other out” while acting casual and indifferent. They both continue on with their lives as Bobby is one of the planners and organizers of a soon-to-open LGBTQ+ museum if the board of directors will agree on anything. And if they can score some big cash donations. Meanwhile, Aaron suits up for his 9 to 5 job as an estate planner. Eventually, the two spend the day together as Aaron enjoys Bobby’s snarky wit, while Bobby is dazzled by Aaron’s cocky confidence and that “eight pack”. Their relationship soars during a trip to Provincetown, then almost crashes when Aaron’s school days crush “comes out”. But can the couple survive the biggest “test”, the dreaded Christmas visit with Aaron’s somewhat stuffy parents?

In his feature lead acting debut, Eichner shows that there’s much more to his considerable talents than verbally “ambushing” unsuspecting New Yorkers (though that does take a lot of talent and chutzpah). Sure we’re expecting him to bring the laughs, which he does by the truckload, with scathing asides and gattling-gun barrages of “burns”. But his Bobby’s not merely a joke dispensing machine, he’s a man looking for love, and more importantly perhaps, respect. Eichner delivers a heart-wrenching monologue, offset by a lovely beach, all about growing up with folks who wanted him to “tone it down” and conform to the “norm” leading him to frustration as those with fewer gifts got much farther. There’s the professional longing offset with the personal ones, as he hesitantly decides to offer his heart to Aaron, played by Macfarlane, who also proves that he’s more than a handsome face atop an “etched in granite” body. This guy must project an aura of aloof “coolness”, but he too wants more than the “pleasures of the flesh” to just “hang” with someone interesting. But Macfarlane shows us that the “perfect ten” has his own inner battles, too. Aaron thinks he can’t keep up with Bobby intellectually, plus he has to deal with a touch of “self-loathing’ as he suppresses his true “career calling’ for fear it would re-enforce gender stereotypes. Happily, the duo is surrounded by a wonderful group of great comic actors. Bobby must deal with a terrific but bickering ensemble that makes up the museum’s board, with Oscar-winning screenwriter Jim Rash grabbing lots of chuckles as Robert, who thinks that bisexuals are short-changed (“Not enough ‘B’ in the LGBTQ!”). Then there’s the scene-stealing SNL star Bowen Yang as a petulant, flighty filthy-rich TV producer. Oh, and we’re treated to several stars playing themselves and having a great time skewering their public personas (I won’t spoil the surprise delights).

Oh, did I forget to mention that Eichner co-wrote the screenplay with director Nicholas Stoller (the NEIGHBORS flicks)? Well, consider that slight undone. Stoller keeps the energy flowing smoothly, avoiding the deadly mid-section “lull” of so many comedies. And he confidently hits the comedic “beats”, knowing when to cut in for a superb reaction glare from Bobby, and when to cut in with a quick satiric aside (Bobby’s disastrous audition to be part of a beloved TV quintet). But somehow the comedy doesn’t drown out the tenderness of the romance, perhaps due to that clever screenplay that teases but really embraces all the “romcom” standards: the swooning “meet”, the trepidation, the “city stroll”, the near “bust-up”, and the “declaration”. The terrific jabs at basic cable TV romcom were made better when I learned that Macfarlane had roles in so many of them. Some moviegoers may be more than a tad skittish with this new “twist” on the beloved genre, but considering the tepid recent entries, this new spin is just the thing to recharge the staple. Those who take a chance will be richly rewarded with the engaging and really funny love story all about these BROS.

3.5 Out of 4

BROS is now playing in theatres everywhere

MARRY ME – Review

(from left) Kat Valdez (Jennifer Lopez) and Charlie Gilbert (Owen Wilson) in Marry Me, directed by Kat Coiro.

So you didn’t think that I WANT YOU BACK would be the only “rom-com” feature dropping on this pre-Valentine’s Day weekend? Did you? I mean there’s got to be one to play the multiplexes since the other flick is only streaming (well, this one’s doing both actually), right? Oh, and this new release is the long-awaited return to the genre by the multi-talented (all manner of media, really) star that some have dubbed (heard it on one of the morning TV chat shows just the other day) “the patron saint of rom-coms”. Now don’t expect her to be a demure passive heroine this time out. Her demands and agenda pretty much boil down to two words: MARRY ME (Imagine the length of that queue, yeesh).

The lady with that simple request is worldwide pop sensation Kat Valdez (Jennifer Lopez). Her decades-long popularity has gotten a big “bump” recently with her very public romance with “up and coming ” crooner Bastian (Maluma). They’ve got a duet that’s at the top of the charts, “Marry Me”, and actually plan on tieing the knot at the conclusion of their joint concert spectacular (beamed around the globe, of course) at NYC’s Madison Square Garden. Miles away from the whirlwind of planning and “prep”, middle school math teacher and divorced dad Charlie Gilbert (Owen Wilson) is taking his pre-teen daughter Lou (Chloe Coleman) to school (he works there, she attends). Naturally, she wants to distance herself from him, upcoming her “coolness cred”. In between classes, guidance counselor and pal Parker Debbs (Sarah Silverman) tells Charlie that she now has two extra tickets to the sold-out Kat and Bastian concert (her ex-girlfriend and her new GF bailed). Charlie reluctantly agrees in order to impress Lou. But things don’t quite go as planned at the big multi-media event. Minutes before the nuptials, as Kat dons her sparkly wedding gown, Page Six drops a big scandal on their website, complete with a “hidden camera” video. A stunned and shocked Kat silences the orchestra and addresses the audience. As she scans the crowd she spots Charlie holding Lou’s makeshift poster board that says “Marry Me”. Kat beckons him to the stage. The wedding will go on, but with a new groom. Concerned about Kat’s state of mind, Charlie agrees and the two exchange “I do’s”. Backstage the pair, go their separate ways, with Kat’s flabbergasted manager Collin (John Bradley) insisting that he will have it all annulled within hours and monetarily compensate Charlie. But Kat’s got other ideas after a brief conversation with Charlie generates sparks. Could this impromptu gesture actually turn into something? But can their very different worlds mesh?

That “patron saint’ is Lopez of course, who seems to be taking somewhat of a career “backstep”, as this is her first feature since her lauded bravada turn three years ago as the “stripper pole queen” of HUSTLERS. At least Kat is a bit closer to her own ‘perceived’ persona, a “meta skewing’ of the publicity chaos that appears to surround her 24/7. Still, she brings a real change to the character as she emerges from the “bubble” and learns to “walk amongst the mortals” and truly connect. That main “mortal man” is the always charming Wilson who still has that affable everyman vibe (guessing if the flick was made 75 years ago, Jimmy Stewart would “aw shucks” he way with it). His Charlie bonds with everyone, especially his “math team”, but Wilson still gives him a wry attitude as he makes subtle digs at the “superstar” life. Rounding out this unlikely “love triangle” is Bastian played by Columbian heartthrob Maluma in his big feature film debut (though we can hear him in ENCANTO). He earns kudos for playing up all the “diva arrogance’ as he practically spits venom at Charlie as he tries to slither his way back to Kat. Also scoring is Ms. Coleman who is endearing as Charlie’s daughter trying to “find her own way” while still needing her daddy. The film is really packed with many of the best comic actors, but their “edges” are somewhat “smoothed” for this mass-audience entertainment. Stand-up star Michelle Buteau buzzes about as Kat’s viral-obsessed aide, while Utkarsh Ambudkar sneers and jeers as a rival math team coach. But the biggest “missed-op” is Silverman as Parker a “gender-switched” take on the rom-com cliche of the heroine’s ultra-supportive gay BFF or next-door neighbor. Her dangerous on-stage bawdy snark is neutered as the school staffer/ wannabe rep for Charlie. Perhaps she hopes to “expand the brand’, but her role here feels toothless. Oh well, at least there’s Jimmy Fallon bucking his “nice guy” image for a more surly prickly twist on his late-night TV gig.

The whole film hinges on the whole premise taken from some of the recent cable-TV “mating shows’ (with titles like “Married at First Sight”, “Love is Blind”, etc.). For most of us (well, me) the whole “plucking from the crowd” thing comes off as ludicrous in the extreme. Perhaps it worked better in the original graphic novel or webcomic (okay, a comic book) by Bobby Crosby which couldn’t quite gel in the screen adaptation by Harper Dill, John Rogers, and Tami Sanger. The concert finale is meant to be Kat’s on-stage meltdown, but her competent compassionate manager Collin (played warmly by Bradley) would’ve pulled the plug on it. We get a hint of the crazed paparazzi-fueled frenzy, but it’s more a mild annoyance. Director Kat Corio does her best with the material, but we can predict the relationship roadmap proceeding along the usual route to its inevitable destination. The leads are likable enough, but the whole thing feels too cloying and cutesy. If that weren’t enough we’re almost suffocated by the “synergy”. Scenes are built around different parts of the Universal media family. Aside from Fallon, NBC Today provides a constant “Greek chorus” along with Telemundo. Enough with the Tie-ins”!Perhaps this was intended as a 25th-anniversary reunion of the two stars (ANACONDA was way back in 1997), but only the most fervent rom-com fanatic will get anything from this wobbly wonky gender-spin on PRETTY WOMAN (with some NOTTING HILL tossed in). Better to stream those gems rather than endure the dreary by-the-numbers MARRY ME.

1 Out of 4

MARRY ME opens in theatres everywhere and streams exclusively on Peacock beginning on Friday, February 11, 2022

I WANT YOU BACK – Review

As you dash about making restaurant reservations and scheduling floral deliveries for the big holiday this weekend, do you ever think about those “non-participators”? I’m guessing that you may not during the whirlwind of “preps”. Sure. most of the “romantically challenged” hadn’t counted on joining in this Monday, but what about those who really thought they’d be toasting their “special someone”? As sort of “counter-programing” two of these “unfortunates” are the focus of a very twisted “rom-com”. This duo is completely “blindsided” by their respective “bust-ups”. So do they break out the ice cream as they plant themselves on the couch for a marathon streaming TV binge? Oh no, they hatch a scheme that loudly declares (though not out loud to the “targets”), I WANT YOU BACK.

The “shenanigans” start during a really awful weekend for our two main subjects. Funny, funky Emma (Jenny Slate) is finishing up a delicious brunch with her hunky beau Noah (Scott Eastwood), when he drops the “bomb”. He’s “moving on” and has a new “lady”, Ginny (Clark Backo), who owns her own trendy pie shop, while Emma hasn’t advanced (she’s still living in her old college apartment with new much-younger student roommates). Across town, affable, friendly Peter (Charlie Day) is frolicking with the “birthday boy’ at his girlfriend’s family’s party. He’s having a blast, but his gal Anne (Gina Rodriguez) seems distant and distracted. Peter finally pries the reason why from her: she’s done with his un-adventurous nature and has taken up with somebody that’s more “free-spirited”. He, like Emma, is completely stunned. But it’s back to work on Monday, so he attends a big morning meeting with the rest of the “team” at a major “senior retirement living center” management company…until he sees a social media pic of Anne and her new fella’. Peter dashes out of the conference room and heads to the building’s stairwell to compose himself. His sobbing is interrupted by a wail of anguish. It’s Emma, who works three floors below as a dental receptionist. The two bond over their shared heartache, and after an evening of karaoke they formulate a strategy. Grabbing info from their exes’ internet posts, they’ll help each other break up the new couples. Emma will seduce Anne’s guy, drama teacher Logan (Manny Jacinto), while Peter (he can’t compete with his beefcake perfection) will become pals with Noah and turn him against Ginny (the ole’ Iago ploy). But can this master plan really succeed? Can these conspirators really repair their old romances?

This “twisty-turny” farce provides a terrific showcase for its two engaging stars (who are deserving of a much larger audience). Slate has already “headlined’ in several interesting “indie” comedies (OBVIOUS CHILD and LANDLINE are the standouts), so her comedic ‘chops’ are proven. This time she reveals an endearing vulnerable side as the floundering Emma who tries to hide her pain behind a mask of snark. There’s an emotional wound, but Slate, through her moist eyes, shows that she thinks that maybe Emma is really “stuck”. Lucky for the filmmakers that she has caustic comic chemistry with Day who tempers his manic “motor-mouthed” delivery with a true sweetness as he questions his “mission”. And he too knows that he’s got to get out of his “comfort zone”, personally and professionally, as Pete was too scared of taking “risks”. And while their former flames would be the “baddies” in other flicks, the “dumpers” somehow don’t deserve our disdain. That’s due in large part to the work of Rodriguez and Eastwood. She’s wanting to “breakout’ before getting “settled”, but Anne still hesitates on making a big (sexual) “leap”. We know the camera adores Eastwood, but his warm take on Noah, closer to an “every-bro”, is moving, especially as he makes Peter his new “lil’ bro”. Oh ditto for their “new loves”. Backo’s a sweet career-minded woman who’s not taking the “plunge” till all is “right”. Jacinto’s a flighty spacey but sweet goofball (a slightly smarter take on his “The Good Place” TV role), who’s more adventurous than anyone thinks (aside from letting his middle school students put on a fairly adult musical). One of his students, Trevor. is played with natural ease by young Luke David Blumm, who has a touching rapport with Salte’s Emma.

Yes, as you may have surmised this is a “rom-com” riff on a Hitchcock classic, though it’s not the first funny “re-imagining” (that would be THROW MAMA FROM THE TRAIN from, really, 35 years ago). Rather than STRANGERS ON A TRAIN, this is “Strangers in a Stairwell” for the main premise. And it really is a “clever spin” on that chestnut thanks to the unpredictable script by TV vets Isaac Aptaker and Elizabeth Berger. Of course, we know that things won’t go completely according to Emma and Peter’s scheme, but the surprises and “turn arounds’ keep us invested and alert. The characters grow and emotionally change, thanks in part to the brief “detours”, particularly Emma’s warm friendship with Trevor in which she takes a big leap into “adulthood”. The story’s pace is solid thanks to the confident, directing from Jason Orley (pretty great for his sophomore feature film). It’s very strong for a comic romp with no true villains, but folks with different dreams and agendas. The Georgia locales are lovely, especially a big finale set aboard a riverboat. The film’s biggest plus is that I wanted to keep “hanging” with the characters just as the credits started to roll (a real rarity). Its biggest minus is the fact that it won’t be in theatres, since this film gives a nice “sheen” to the tarnished “rep” of “rom-coms”. Let’s hope we’ll see future pairings of Slate and Day because I WANT YOU BACK. Someday…

3 out of 4

I WANT YOU BACK streams exclusively on Amazon Prime Video beginning Friday, February 11, 2022

THE FALL OF THE AMERICAN EMPIRE – Review

Left to right: Alexandre Landry as Pierre-Paul Daoust, Maripier Morin as Aspasie/Camille Lafontaine. Photo by Jaime Eduardo Urrutia Acuna, Courtesy of Sony Pictures Classics

Despite the title, writer/director Denys Arcand’s film is actually a French Canadian satiric crime thriller/comedy about a delivery driver with a PhD in philosophy who finds himself in an ethical dilemma when a bag of stolen loot literally falls at his feet. But then again, maybe it is about the fall of the American empire, as income inequality and the fuzzy boundary between international high finance and high crimes are at the core of this social satire.

The title follows those of Arcand’s previous films, THE DECLINE OF THE AMERICAN EMPIRE and BARBARIANS AT THE GATE, but while those films focused on the same group of academics, this one starts anew with a new group of characters. At the center is a young French Canadian philosopher working for a UPS-like delivery company, who is trapped in a dead-end job by an economy where money trumps brains. Arcand’s sly mix of comedy and serious social commentary blends elements of crime thriller, police procedural, and romantic comedy in a surprising twist tale of ethical dilemmas, income inequality, homelessness, and the overlap of criminal money laundering and high-powered finance. It is a funny, thoughtful and even sweet bit of fantasy with a serious point underneath.

Set in Montreal and primarily in French with some English, this Canadian satire opens on a down note, with the truck driving philosopher Pierre-Paul Daoust (Alexandre Landry) haranguing his bank teller girlfriend Linda (Florence Longre) about his dim financial prospects in the modern economy. Saying the present system favors salesmanship over intelligence, he argues that intelligence is actually a liability, in system where the ability to sell means idiots rise to CEO while he is more likely to be fired for lacking an ability to trick people into buying. She tries to challenge his arguments but he counters by talking about the failings of Dostoevsky and Tolstoy. Trump’s election comes up and he say, “idiots love cretins.” Frustrated by his dim view of life, she breaks up with him.

Despite that dim view and his dead-end job, Pierre-Paul is a generous, ethical guy who enjoys volunteering at community center serving meals to the homeless. While on a delivery run to a strip mall clothing store, named Hollywood, Pierre-Paul arrives at the tail end of a robbery gone wrong. Turns out the shop is a front for a money laundering operation, and as Pierre-Paul pulls up, a security man and a robber lie dead and the surviving wounded robber Jacmel (Patrick Albellard) staggers past, dropping his bag of money nearly at the stunned delivery man’s feet Pierre-Paul wavers briefly , then picks up the loot and stashes it in his van, moments before the police arrive. With both the police and the crooks circling around him, Pierre-Paul has to figure out what to do next.

The plot takes some crazy turns, and brings in an newly-released ex-con named Sylvain “The Brain” Bigras (Remy Girard) who studied finance in prison, a high-priced call girl using a name from Socrates, Aspasie (Maripier Morin), and a wealthy, politically-connected investment counselor Wilbrod Taschereau (Pierre Curzi) adept at tax evasion. They are joined by a pair of relentless detectives (Louis Morissette and Maxim Roy) trying to figure it all out and the gangsters whose money has gone missing. From its grim, dark start, the film picks up steam as it takes on more crime comedy tropes. But those looking for THE FALL OF THE AMERICAN EMPIRE to break out into full-blown, absurdist comedy will be disappointed, as the writer/director continues to straddle genres throughout the film. His social commentary is remains subtle rather than overt, and he returns to the character’s ethical dilemma, and his concerns for the homeless and dispossessed, throughout.

The fine performances are key in this film, as part of the director’s plan is to get viewers to look beyond surface appearances, Especially good are Alexandre Landry as Pierre-Paul and Maripier Morin as call girl Aspasie. Other strong performances come from Remy Girard as ex-con Sylvain and, Maxim Roy as policewoman Carla McDuff but all the characters get their chance to surprise us.

This is not a film for everyone. It never breaks out into rollicking comedy or wild-ride crime thrills, although it has moments of both. Instead, it is a thoughtful, good-hearted film full of unexpected turns, that has something in particular to say and it says it in a gentler, subtler way than most social satires might. While the characters are sometime based in genre types, like the hooker with the heart of gold, the director brings out their humanity and individuality, which gives the film a surprising sweetness and warmth. The far-fetched plot puts the film firmly in the realm of fantasy but the human warmth and the filmmaker’s thoughtful, gentle observations about society and those left out give it a depth and resonance one does not expect when the film starts out.

THE FALL OF THE AMERICAN EMPIRE, in English and French with English subtitles, opens Friday, June 28, at Plaza Frontenac Cinema

RATING: 4 out of 4 stars