GOOD LUCK TO YOU, LEO GRANDE

 Emma Thompson     Daryl McCormack

            This is a fun and surprising movie about sex work that comes across as genuine in ways one wouldn’t expect.  Yes, it has a lot of laugh-out-loud humor—which is good, since many encounters are clearly awkward.  But the underlying truths and the transformation of both characters elevate the story above the purely entertaining.  

            I’m not sure how younger people will view the story.  Maybe the older woman Nancy (artfully played by Thompson) will remind them of a parent who is in their eyes strait-laced and judgmental, and it will be rewarding to see that character change in significant ways.  Or maybe they will be instantly turned off by an older woman discovering sex for the first time, despite the fact that she has grown children.  “Boring!” as covered in the story.

            For me, the film seems much like listening to a therapy session (ignoring the actual content for the most part).  The intrigue and oddity of it lies in how much the sex worker “Leo” (McCormack) sounds like a good therapist—always empathic, understanding, insightful, and reassuring.  He effectively overrides Nancy’s frequent misgivings and self-deprecations, re-focusing her attention on herself and her desires.  Never before in her life have her wishes been considered top priority.  That’s one new revelation/experience for her, but there will be many.  Most importantly, her need for control will be addressed without her realizing it until after the fact.

            A most important aspect of personal relationships is aptly addressed when like a “patient” Nancy does some sleuthing about Leo personally.  (Neither uses his/her real identity for the “sessions.”)  Leo reacts to this boundary infraction (this time not like a therapist), with outrage.  An engaging part of the movie is still very much in seeing how the characters deal with the reality of their lives.

            Thompson (as always) and McCormack as actors pull us into this story hook, line and sinker.  Both make Nancy and Leo real in ways we can envision and care about them.  She gets on the nerves from time to time, but his responses to her help us forgive her.  And you realize that that’s how things should work between people.  It’s a model for all of us to follow. 

            Something can be said about Daryl McCormick; he reminds us of Rege-Jean Page in the first season of “Bridgerton”, who became an international heart-throb before he left the show after the first season.

            Kudos to writer Katy Brand who came up with this story and to director Sophie Hyde for making it into a movie about an older woman and a younger man that has both substance and wit—not an easy thing to do!

            The film will be released on HULU on June 17, 2022.

 

A surprising comedy/drama that endears and has substance.  

 

Grade:  B                              By Donna R. Copeland

            

CRUELLA

 Emma Stone     Mark Strong     Emma Thompson     Joel Fry     Paul Walter     Emily Beecham

            It’s hard to see this as anything but horrible.  We have the tired old theme of two women fighting with one another using underhanded means.  OK, but not only that, the whole exercise is set up to make room for the next installment, which is, probably, further manifestations of the same cat fight.

            Little semblance of creativity in the script can be found in this production; the underlying theme is that women are devious and cold-hearted.  Traits in the first evil woman, the baroness (Thompson), are sure to be found in her abused (aren’t all her attendants abused?) assistant, Estella (Stone).  

            I realize there have been reincarnations of the Cruella character for years, from the time she first appeared in Dodie Smith’s novel in 1956 (The One Hundred and One Dalmations) through numerous appearances in Disney productions ever since, the latest one in 2000 (102 Dalmations), when Cruella was portrayed by Glenn Close.  I’m puzzled about the public’s fascination with these movies—which are always popular—until I realize that they are tapping into a fundamental belief in the concept of women.

            Setting that aside, I have to say that the director Craig Gillespie’s previous films (I, Tonya, Lars and the Real Girl) are ones I’ve loved for their demonstration of psychological acuity and empathy.  Maybe there is something I’m missing, but I don’t see any of that here. 

            All of that said, Emma Thompson and Emma Stone give outstanding performances that display bravado and formidable talent.  Mark Strong, Joel Fry, and Paul Walter Hauser add many of the soulful and comedic twists that move the story along.  The costumes (Jenny Beavan) are extraordinary and form the essence of what part of the story is about and whatever creativity is found in the film.  The music of Nicholas Britell is so much a part of the story, it is essential to its production.

 

A movie that is bound to please, but begs the question about how women function in society today.

 

Grade:  C                              By Donna R. Copeland

DOLITTLE

Robert Downey, Jr.    Antonio Banderas    Michael Sheen    Jim Broadbent    Harry Collett    Carmel Laniado

Voices of:  Emma Thompson, Rami Malek, John Cena, Kumail Nanjani, Octavia Spencer

Tom Hollans, Craig Robinson, Ralph Fiennes, Selena Gomez, Marion Cotillard

     Talking to the animals and having them respond back.  This movie is surprisingly convincing in making you think it is possible. Dr. Dolittle (Downey) has been holed up in his house, not doing much of anything but talking to his animals after he lost his love Lili on her adventure at sea.  He lives with these creatures, and seems to be gradually going nuts.

     In the meantime, there is young Tommy Stubbins who can’t bear to shoot animals on his family’s hunting expeditions (much to the puzzlement of his father) and one time, he accidentally wounds a squirrel named Kevin (Robinson).  Desperate, he runs to the animal doctor’s house to get him to save him.  Now, Kevin is outraged and deeply resents Tommy, vowing throughout the story to get his revenge.   

     On his way to Dr. Dolittle’s, Tommy runs into Lady Rose (Laniado), Queen Victoria’s niece.  The queen is gravely ill, and has specifically asked for Dr. Dolittle’s help.  But the doctor is still grieving for Lili and is insufferably cranky, just wanting to be left alone.  After reluctantly reviving Kevin, he’s talked into (after being told that if the queen dies, his house will go to the Treasury and he’ll have to find another place to live) going to the palace, riding ostrich Plimpton (Nanjiani).  Unbeknownst to Dolittle, Tommy has stowed away in the carriage with Lady Rose, consistently begging the doctor to take him on as his apprentice, but always denied. Nevertheless, Tommy tries to be as useful as he can and learn to talk to the animals on his own.  It will take a long time for the distracted Dr. Dolittle to recognize Tommy’s value.

They arrive at the palace, Dolittle quickly diagnoses the queen’s problem (by most unorthodox but entertaining means), and decides that the antidote can only be found at a remote island.  To reach it, Dolittle must steal Lili’s diary with directions to the island from her father, King Rassouli (Banderas), king of the pirates.  This requires detailed planning, because the king is not pleased with his son-in-law.  

     Adventures begin on the high seas, with the Dolittle party in one boat, and jealous rival Dr. Blair Müdfly (Sheen) in hot pursuit.  Seems there is some palace intrigue, and Müdfly has received certain instructions to sabotage the Dolittle party.  In addition, the crew will have to either sneak into the palace and retrieve the diary or confront King Rassouli directly. The struggles on the ocean and within the palace provide enough tension and interest to qualify for a kid’s action movie.

     In this whole saga, Robert Downey Jr., is in his element, being playful and crafty at the same time (one of his trademarks).  Martin Sheen is a worthy adversary, with greedy eyes and rude hoots when he thinks he has won a battle.  Antonio Banderas plays the more cosmopolitan figure with exotic appearance and inflated entitlement to redress perceived wrongs against him. All the other supporting actors—including those who lend their voices to the animals—are superb.  They’re given wonderful lines that perfectly capture their individual personalities, such as one with self-esteem problems, one with daddy issues, one inclined to bury his head in the sand when the going gets rough, and one suffering psychological aftereffects from stomach problems.  Much to the character’s credit, Dr. Dolittle at times functions as a therapist by encouraging these animals through their trauma, along with being a brilliant diagnostician and surgeon.  

     The production design (Dominic Watkins) and sets (Lee Sandales) are beautiful, backed up by an intelligent script by director Stephen Gaghan and his co-writers.  Danny Elfman’s music and Guillermo Navarro’s cinematography likewise contribute a great deal to this delightful production.  

     The production has much of value for children in modeling teamwork (“Teamwork makes the dream work”), the value of persistence in reaching a goal, recognizing that individuals need to be encouraged through their difficulties, and the efficacy of forgiveness in making everyone feel good about what they are doing.

A delightful action movie for children about how animals and humans can work together for mutual benefit.  

Grade:  A                             By Donna R. Copeland

LATE NIGHT

Emma Thompson     Mindy Kaling     John Lithgow     Hugh Dancy     Max Casella     Denis O’Hare

     You know those movies that are so funny you miss some of the lines because people are laughing?  That’s what Late Night is; Mindy Kaling’s script is chock full of sharp witticisms along with plain common sense that provokes thought and consideration about topical issues that elicit ambivalence and the need to squirm.  Emma Thompson’s characterization of a gorgeous, haughty night show host who is dependent on her writing team’s jokes and who gets gobsmacked by an inexperienced, “factory worker” with a heart makes this comedy many steps above most.  Kaling has a lo-ooong career ahead of her. One of the most challenging assignments in movies and television is that of making a comedy that is really funny but thought-provoking at the same time.

     Katherine Newbury (Thompson) has won awards for her late-night television show of ten years, but it seems to be getting stale and not keeping up with the times. As so often happens, a sudden social pressure makes the show runners start scrambling.  Diversity is one such concept.  “Hire a woman!” comes the pronouncement for the writing staff, and that’s how a Native American woman with little experience in comedy and coming from a chemistry laboratory gets hired for the “Tonight” show. 

     How Molly (Kaling) fits and doesn’t fit into this group becomes part of the story. But another part of it is how Katherine has to change in response to all kinds of forces coming after her.  

     Molly represents frankness and truthfulness, which is revolutionary in the entertainment world.  Not only that, she doesn’t observe the tacit rules of engagement, especially toward superiors. But the beauty of the writing is that Molly is usually right—no matter how much resistance she gets—in ways the audience will understand.  “Never give up” is the motto she pins to the wall behind her desk, but even she is put to task for this a number of times.

     Katherine is a fine example of a narcissistic person who doesn’t bother to know anyone else, is extremely intelligent, goal-directed, and able to let the verbal jabs fly in a barrage against anyone in her way.  As a listener rather than the target, her retorts are actually funny and highly entertaining.  They appeal to baser urges that we are not able to express nearly so well.

     The two female leads have an armada of different kinds of foes that women all over will recognize.  For Molly, it’s the clutch of male writers jealously holding on to their turf—even if it’s the ladies room that hasn’t been used because there haven’t been any women around.  (The show does a fantastic job in depicting the lame defenses males and whites give for their behavior.)  But it’s also the female boss above Molly who has the same prejudices in many respects the male writers have.  For Katherine, it’s the icy, all-business Caroline Morton (beautifully rendered by Amy Ryan), owner of the network, who is taking a ratings-only approach to scheduling/cancelling a show.  But most of all it’s her public, which she hasn’t bothered to “read” and listen to for years.  An entertaining—and provocative—aspect of the film is its emphasis in so many ways on listening.  Paradoxically, not listening is highlighted to show its importance.

     Use of social media and managing it makes this film even more contemporary.  It models how to deal with it in a way that works for you, rather than allowing it to work against you.  I was reminded of one of my esteemed bosses’ pronouncements to us:  “When in doubt, tell the truth.”

I can’t think of anyone who would not be affected by this film and inspired to do better.  (Ahem…well maybe I can.)

Grade:  A                        By Donna R. Copeland

MEN IN BLACK: INTERNATIONAL

Tessa Thompson    Christopher Hemsworth     Kumail Nanjiani     Liam Neeson

Emma Thompson     Rafe Spall     Rebecca Ferguson

     

     This is Men in Black:  International; so it will take place in Brooklyn, Paris, London, Marrakesh, and “Riza’s fortified fortress of sheer death”—wherever that is.  Following the High T’s (Neeson) maxim:  “Always remember:  The universe has a way of leading you to where you’re supposed to be, at the moment you’re supposed to be there”, Agents H (Hemsworth) and M (Thompson) will travel the world to uncover the Hive enemy or (God forbid!) a mole within their own organization.

     Molly has been interested in coming to know “the truth of the universe” since she was a child and visited by an alien.  She protected said alien from the authorities looking for him, and upon fleeing he made a promise to her in his own language, although she didn’t understand what he said.  Subsequently, she always took note when strange happenings occurred, and when she was grown up, she began looking seriously for ‘them’ (Men in Black). She actually does find them, much to the chagrin of Agent O (Thompson), who reluctantly gives in to her pleas and assigns her the name of ‘M’, sending her on assignment under the supervision of Agent H to find and destroy the enemy.

     Although Agent H has an excellent reputation and is tapped to take the High T’s place when he retires, at this time, he appears to be “vaguely inept, arrogant, and reckless”—in the words of M after she has come to know him.  But he is experienced.  She, on the other hand, seems gifted with both a sixth sense and logical reasoning in solving problems.  These two:  What a combination for a team, but there’s an underlying “like” for each other that keeps them working together.

     The main plot for this film is weak; that is, we don’t get much invested in the intrigues and struggles of the Men in Black until, maybe, the very end when the mole is revealed.  But there are some creative insertions along the way that help keep us engaged.  One is a tiny being who has lost his queen and becomes attached to M.  She names him Pawny (voice of Nanjiani), and he becomes her protector, as well as the arbiter in M’s conflicts with H.  He is also the resident comedian.  Another is M’s unexpectedly encountering the alien she protected years before.

     I think this film is a victim, like so many remakes and sequels these days, of a “been there; done that” reaction.  It appears that business aims are taking precedence over creativity in films like this.  They’re reasonably well done in terms of craft, but the mark of “retread” is unmistakable.  In this instance, there is not much that is new and creative to make us go, “Wow!”

Think of this film as simply another retread in the genre of “action, adventure, comedy.” 

Grade:  C                                    By Donna R. Copeland

THE CHILDREN ACT

Emma Thompson     Stanley Tucci     Ben Chaplin     Fionn Whitehead     Rupert Vansittart

     The Children Act, based on the great British writer Ian McEwan’s book and screenplay, weaves a beautifully moving story told in a unique way, exploring the agony and the depths of differing perspectives involved in critical decision-making.  It could be the basis for one of the ethics workshops we’re all being required to attend these days.  Hopefully, in such events, it will be pointed out how helpful good psychotherapy could have been for the characters in this drama.

     The film stars the award-winning actress Emma Thompson as Milady (as female judges are referred to in Britain) Fiona Maye, a judge who must rule in difficult child cases using The Children Act, Britain’s guide for adjudicating in the interest of children.  We’re first told about a set of conjoined twins where the issue is to separate them or not.  Separation would mean that one would likely die, but not separating puts both lives in jeopardy.  I especially like that the film allows enough time for the audience to consider the arguments for and against in this and the following case.

     The next case we hear about is that of Adam Henry (Whitehead), a teenager (not yet 18 years old) whose Jehovah’s Witness adherent parents want to deny him treatment that would involve transfusion of blood, strictly forbidden in that religion.  Without it, he is not only likely to die, but it would be a painful death.  We see once again that Judge Maye is sincerely considering all the arguments in a fair and reasoned way, with the law firmly in her mind.  

     In this instance, however, in her commitment to making a reasoned decision, she breaks precedent and goes to visit Adam in the hospital to determine for herself that he is not being unduly influenced by his parents or church elders.  She is caught off-guard by the young man, who is obviously flattered by her visit and responds eagerly to her probing questions, clearly affirming his belief in the religion.  Beyond that, he is a budding guitar player (four lessons so far!) who insists on demonstrating his delight in what he has learned to the judge, who, unbeknownst to him, is an accomplished pianist.  She vocalizes the Yeats poem he has played the notes for, and he is clearly inspired by her presence and her knowledge.  

The visit is not entirely compliments and fun; when she asks Adam what he will think if she rules in the hospital’s favor, he quickly responds with “I would think Milady is an interfering busybody!” which brings a spontaneous, hearty laugh from her.

     Little does Milady realize how much she has touched Adam—and he, her—and what will ensue as a result.  It will hit chords in her that have remained long dormant.  The story is not just about her cases, Fiona is going through a trying time in her marriage to Jack (Tucci).  It seems her supreme dedication to her work is bringing up other considerations for him.  He has been patient (in a completely endearing way) with her total commitment to her work, but now, even though he still loves her dearly, he wants something in exchange.  In the interactions between them that we see, it is clear that her priority is her work, and she expects to continue on with their life as it is.  

     Through all this, it’s remarkable how closed Fiona is to emotional pulls from her husband or from her new admirer.  This, of course, makes her emotionally vulnerable, and the two relationships, juxtaposed as they are, will have profound effects on her.  Compliments to writer McEwan; all of what transpires is not only engaging, but reflects true human conditions and beliefs.

     Emma Thompson should be at the top of award lists this year for her performance in The Children Act; it’s demanding in its requirement for portraying a complex character with nuance and believability. Thompson hits every note and makes them vibrate in her hot and cold assessments of cases, her unexpected discovery of what ‘wild and free’ means, her genuine love for meaningful attachments, and her playfulness despite all the seriousness.  Stanley Tucci is a perfect foil for her character in his portrayal of a male who is loving but not useless (which some in the film complain about men in general, and might apply to some sentiments in today’s world), and one who is wise in matters of the heart.  Young Fionn Whitehead has earned some of his stripes in Christopher Nolan’s Dunkirk, and increases them here in his portrayal of a passionate teenager who knows his own mind. He made the character of Adam entirely believable and sympathetic.

     Richard Eyre’s direction of this masterpiece in blending so many elements is spot-on, including the perfect backdrop of Stephen Warbeck’s piano music and Andrew Dunn’s cinematography capturing expressiveness in human faces and a range of interior and exterior spaces in which the action takes place.

This is a perfect movie in which to see the human complexities professionals in law and healthcare face in their day-to-day work, but it’s also a thoroughly engaging story.

Grade:  A                                    By Donna R. Copeland

THE MEYEROWITZ STORIES

Adam Sandler   Ben Stiller   Dustin Hoffman   Emma Thompson   Candice Bergen

Rebecca Miller   Judd Hirsch   Grace van Patten   Elizabeth Marvel   Adam Driver

     If you want to see a dysfunctional family in action, see the Meyerowitz Stories on Netflix.  Much—especially in the beginning—is painful to watch and listen to, but as time goes on, and genuine caring and concern are mixed in with the rancor and bickering, it finally gets to laugh-out-loud funny.  Noah Baumbach, writer/director knows much of what he speaks in terms of the psychology of family interactions.  It’s dramatized, of course, and there are some scenes I wish he had toned down a bit to make the film more tolerable and plausible, but for the most part it’s a rich store of family dynamics.  Sibling rivalry and its sources (absence of parents, favoritism of parents), the neediness of people who have grown up missing nurturance and acceptance they craved as children, and the effects of divorce and remarriage on children and spouses live on in people’s adult lives—as clearly demonstrated by the film.

    Harold Meyerowitz (Hoffman), the patriarch of this clan, is obsessed with his art to the exclusion of almost everything else.  He seems to have been a successful teacher, but the value of his art productions is not clear.  Harold’s obsession with his art and his place in the art world extends to his interest in his favorite son Matthew (Stiller), whom he sees as being a contributor to his art, despite the fact that his son Danny (Sandler) used to be a musician and in adulthood has been much more involved in his father’s life.  His daughter Jean (Marvel) represents the child almost completely forgotten by everyone, except she has managed to maintain a texting relationship with Matthew and Danny’s daughter Eliza (van Patten). 

   There are hit and miss visits among family members, none of which appear to be satisfying to anyone, then Harold becomes seriously ill, which serves as a catalyst in bringing out more pointed and emotionally productive encounters.  These inform us—and them—about the sources of their various discomforts and resentments and significant events they have endured, giving us a good picture of how the family members came to be who they are today.

    Baumbach’s direction is solid, and Randy Newman’s music and piano accompaniment throughout give a lilt to the drama and comedy onscreen.  Similarly, Robbie Ryan’s cinematography highlights, focuses, and shifts with the action, giving us the sense of being inside the picture observing a real family. 

     Both Adam Sandler and Ben Stiller are a question marks for me before I see one of their movies.  Adam was great in his work on “Saturday Night Live” and in Spanglish, but That’s My Boy, Big Daddy, and The Waterboy are insipid and show none of his acting skills.  Similarly, Ben Stiller has been exemplary in Brad’s Status and The Secret Life of Walter Mitty, after bombs Zoolander 2 and Along Came Polly.  Here, with the good script and the direction of Baumbach, they are at their best, and supported by a number of good actors (Hoffman, Thompson, van Patten, and Marvel, with cameos by Bergen, Miller, and Driver). 

Picture of a dysfunctional family that comes together (mostly) during the patriarch’s life-threatening illness.

Grade:  B+                                    By Donna R. Copeland

BRIDGET JONES'S BABY

Renee Zellweger   Colin Firth   Patrick Dempsey   Emma Thompson   Jim Broadbent   Gemma Jones   Sarah Solemani

          This is the third installment of Bridget Jones, and I would have thought that after the cool reception of the second (Bridget Jones:  The Edge of Reason), that that would be it.  But, no, in this age of filmmakers’ lust for remakes and sequels (i.e., money), we get the third version:  Bridget Jones’s Baby.  Renee Zellweger remains Bridget, and Colin Firth is retained as love interest Mark Darcy.  Patrick Dempsey is introduced as Mark’s charismatic rival, TV star and professional matchmaker, Jack.  I think his character (and Dempsey is perfect in the role) adds the most refreshing addition to the plot and helps bring the sitcom-like story into contemporary times.  More about that below.

         As the film opens, Bridget is coming to terms with her life situation—over 40 and a “spinster.”  With pressure from her co-worker Miranda (Solemani, who adds additional flair and talent to the cast), Bridget decides she will become a sexy “cougar” and go to a camp festival, all the rage, and let come what may.  She ends up falling down in the mud, being rescued by Jack who just happens by and is instantly attracted to her.  One-night stand, and she skitters off.

          As happens in social circles, Bridget encounters Mark from time to time—once with his wife, then once at a family christening without his wife, when, it turns out, he is divorcing.  The old fire is rekindled and they have a significant encounter.

         Now, of course—the whole point of this movie—Bridget finds out she is pregnant.  The problem is that she slept with two men at about the same time, so who is the father?  Consistent with the zany character, Bridget used very old condoms in her encounters with the two men.  (I’m glad there was at least an attempt at safe protection!)

       It’s inevitable that the three—Bridget, Mark, and Jack—will be thrown together from time to time, with first one man and then the other professing his love for Bridget and the child.  Eventually, everyone knows that the fatherhood is unclear, and we see them struggle through the ambiguities of the situation.  The interchanges at prenatal classes are some of the funniest scenes of the movie, especially when the instructor assumes the two men are a couple and Bridget is the surrogate for their adoptive baby.  Playful Jack thinks this is great fun, and begins to relate to Mark as a lover (he is willing to role-play for fun), which only makes Mark more uneasy.  Being so proper, Mark is already having a hard time with this bizarre situation.

         The conclusion is well orchestrated by Sharon Maguire as director of the first and third versions of Bridget Jones and by the screenwriters Helen Fielding, Dan Mazer, and Emma Thompson.  (Thompson as the physician also brings wry hilarity to her scenes.) 

A rom-com that many will enjoy following the previous Bridget Jones films.

Grade:  C+                         By Donna R. Copeland

A WALK IN THE WOODS

Robert Redford   Nick Nolte   Emma Thompson   Mary Steenburgen   Nick Offerman   Kristen Schaal

           A Walk in the Woods is literally like a walk in the woods with entertaining companions and sometimes annoying, sometimes helpful, meet-ups on the trail.  Based on a memoir by Bill Bryson, the film shows Bill (Redford) as a little bored with his easy life and hatches the idea of hiking the Appalachian Trail, which his wife (Thompson) begs him not to do, but if he insists, to take someone with him.  After calling numerous friends, he is not able to find anyone until his old, currently estranged, friend Stephen (Nolte), hearing about the invitations via the grapevine, calls him up and invites himself along in such a way Bill cannot gracefully refuse.  And since he is a kind, thoughtful, well-educated soul—and a little desperate—he agrees Stephen should come.  (The film is remarkable in its portrayal of Bill as ambivalent; he’s not able to forsake his good breeding and principles, even though he is often repelled by the crudeness of Stephen.  But the ending shows a resolution of this ambivalence in a warmly human way.)

           We get our first introduction to Stephen when he arrives in a small plane, can barely fit through the door but gets through, dropping hat and bag, huffing and puffing, and stumbling out.  When he walks, he has a noticeable limp.  Again, Bill is the epitome of politeness and patience, and you shiver to think how these two are going to hike—not just walk—such a challenging route.

           Of course, they will have many adventures and misadventures both on the trail and in towns along the way, many of which are laugh-out-loud humorous and some actually life-threatening.  Stephen is the perfect foil for the refined Bill, by observing and talking crudely about things in the past and present that may appear to be obvious, but would ordinarily be brushed away by Bill.  Therein lies some of the value of this story—that Bill seems to be learning, as he has done all his life, from new experiences; yet tolerates Stephen, seldom losing patience with him.  Even when Stephen pokes fun at Bill’s intellectual sharpness and knowledge, Bill recognizes the good in Stephen and appreciates it.

           Part of the reward of this film is watching gifted experienced actors like Redford and Nolte doing what they do best.  They know the characters they’re portraying, and fit with them hand-in-glove.  The director, Ken Kwapis (Big Miracle, The Sisterhood of the Traveling Pants) and writers Rick Kerb and Bill Holderman do fine work in interspersing comedic moments into the action when it gets strenuous or alarming, and bringing in novel elements to keep us watching.  For instance, one of my favorite character artists is Kristen Schaal, who appears on the trail as Mary Ellen, the “expert” in hiking who has no sense of tact or personal engagement.  She does it so well, we—like Bill and Stephen—want to get away from her as fast as we can.

           I think this film did what it set out to do, and the music by Nathan Larson and cinematography by John Bailey nicely complement the story.  I understand Hollywood is attempting to increase appeal to older audiences which comprise a growing percentage of the theater going public (e.g., I’ll See you in my Dreams), and A Walk in the Woods fits nicely in that genre.

A walk in the woods to remember.

Grade:  C                        By Donna R. Copeland