Dumplin’


Beauty isn’t always just skin-deep.

(2018) Dramedy (NetflixDanielle MacDonald, Jennifer Aniston, Odeya Rush, Maddie Baillio, Bex Taylor-Klaus, Luke Benward, Georgie Flores, Dove Cameron, Harold Perrineau, Kathy Najimy, Ginger Minj, Hillary Begley, Sam Pancake, Dan Finnerty, Molly McNearney, Tian Richards, Ryan Dinning, Andrew Fletcher, Oscar Gale, Ariana Guerra, Julia Denton, Kaye Singleton. Directed by Anne Fletcher

 

I have to admit, I didn’t have high hope for this Netflix film. For one thing, it’s adapted from a Young Adult novel, a genre that doesn’t exactly scream sophistication. For another thing, the plot sounded pretty pedestrian – and spoiler alert, it is.

And yet, I wound up pleasantly surprised. Danielle MacDonald (Patti Cake$) stars as Willowdean Dickson, a plus-sized gal whose mom Rosie (Aniston) was once a Miss Teen Bluebonnet back in ’91 which is where she pretty much peaked. Rosie runs that same pageant now, the oldest one in Texas. Willowdean, who she called Dumplin’ as a child (a nickname that Willowdean hates with a passion) was essentially raised by her Aunt Lucy (Begley), a fellow plus-sized gal who worships at the altar of Dolly Parton (a religion that Willowdean now shares, along with her bestest friend Ellen (Rush). But Lucy has passed away, forcing Rosie and Willowdean to have to rely on each other, which simply isn’t something they’re used to.

Fed up with feeling alienated because of her size, Willowdean decides to enter the pageant herself, despite the obvious fact that she doesn’t conform to the body type that most pageant girls tend to have. Inspired by her example, Ellen also enlists along with fellow plus-sizer Millie (Baillio) and militant punk feminist Hannah (Taylor-Klaus). The four girls intend to make a statement by virtue of being on the inside, although what exactly they expect to accomplish is a mystery, including Willowdean herself.

The movie is actually pretty warm-hearted and sweet-natured. Willowdean is aided in her subversive act by a group of Dolly Parton female impersonators; she also is dealing with the affections of teen hottie Bo (Benward) with whom Willowdean works at a local diner. It is telling, however, that there is no real villain here; even Rosie basically loves her daughter and wants the best for her. It’s just that Rosie can’t get past Willowdean’s size, nor the notion that fat people can actually be happy.

The movie works well because it takes basic teenage girl issues and tackles them head-on, handling the subject with a rare sensitivity and without taking the temptation to make Willowdean an object of ridicule. She may be full of insecurities – what teenage girl isn’t? – but at the end of the day, Willowdean was taught well by her aunt to love herself for who she is and not because of who she could potentially be.

And I would be remiss if I didn’t say that the real highlight here is MacDonald, who in two short years became a very respected actress who rather than using her size as comic fodder, instead embraces it and allows others to embrace it with her. I’m not kidding when I say that Danielle MacDonald has the talent to become an important actress over the next couple of decades or so, so long as she steers away from movies that use her size as a weapon to heap score on the plus-sized people of the world.

REASONS TO SEE: Surprisingly effective and just offbeat enough to be interesting. MacDonald is absolutely delightful here.
REASONS TO AVOID: Has a few young adult movie tropes.
FAMILY VALUES: There is some mild profanity, body shaming and sexuality.
TRIVIAL PURSUIT: Although Dolly Parton herself doesn’t appear in the film, she did write and record several new songs for it.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 5/18/20: Rotten Tomatoes: 85% positive reviews, Metacritic: 53/100
COMPARISON SHOPPING: Little Miss Sunshine
FINAL RATING: 7/10
NEXT:
Bumblebee

Hell Fest


Seeing a guy in a hoodie and a mask carrying a knife is never a good thing.

(2018) Horror (CBS) Reign Edwards, Bex Taylor-Klaus, Tony Todd, Amy Forsyth, Michael Tourek, Courtney Dietz, Christian James, Matt Mercurio, Elle Graham, Benjamin Weaver, Mason Pike, Roby Attal, Brooke Jaye Taylor, Stephen Conroy, Markus Silbiger, Ashley Ueker, Quandae Stewart, Alicia Rosato, Kimberly Battista. Directed by Gregory Plotkin

Let’s face it; getting scared is fun. It makes our hearts beat faster, our adrenalin spike and our breath quicken. For young men, it gives us a chance to be protective of our dates who might even be suitably grateful afterwards. It’s why we go to horror movies and why we go to haunted attractions.

Natalie (Forsyth) has returned home from school. Her best friend Brooke (Edwards) is happy to see her – Brooke’s roommate Taylor (Taylor-Klaus) not so much. But young Gavin (Attal) really wants to see Natalie after a summer flirtation. So much so that he’s gotten VIP passes to Hell Fest for the three girls as well as the boyfriends of Brooke and Taylor. Hell Fest is one of the biggest haunted attractions here is, a traveling amusement park with horror-themed rides and mazes. It’s a big deal every time it shows up. Brooke and Taylor are very psyched for it; Natalie is less enthusiastic, not being terribly fond of being scared.

The real difference at this particular edition of Hell Fest is that there is an actual psycho among the costumed actors who can dispatch young girls in full view of the patrons – it’s all part of the show, right? – with nobody being the wiser. He’s done it before, as we see in a prologue.

So when a terrified girl who knows that fantasy has crossed the line into reality begs Natalie to save her from The Other (Conroy), as the killer is known as here. Laconically, Natalie tells the masked figure “Do it. That’s why we’re here – to be scared.” And so the killer obliges. And now he has a new target to chase around the park.

I suppose the concept of having an actual killer hiding in plain sight in a haunted amusement park has some merit, although something similar was attempted earlier this year in the independent Blood Fest – which was actually much better than this although as my British friends might say, that film was also daftier. The other main difference is that while that film was obviously made by people who not only believed in what they were doing, they were having a great time doing it. This movie appears to have been approached with all the joy and enthusiasm of a high school student approaching a term paper on Pilgrim’s Progress.

It’s not that Hell Fest is a bad movie; it’s not. It’s just not a good one. It shows little imagination or passion in any aspect, from the writing to the acting to the directing. Only the production design seems to have been approached with any sort of zeal. There are no real sore spots anywhere; neither are there any real bright spots (again, other than the production design).

The characters are literally just cookie cutters without depth and all ready to be ground into crumbs. The inevitable string of murders is neither imaginative nor particularly frightening. They’re just…there, like a misunderstanding in a rom-com. The last thing you want from a horror movie is a feeling of meh. Even a bad horror movie has its merits; there is nobody who itches to see a mediocre scary movie. That’s really what you have here; the horror equivalent of Wonder bread slathered with mayonnaise and American cheese. Horror fans deserve better. Heck, all of us deserve better. Natalie herself said “We’re here to get scared.” It’s a shame the folks who made her film didn’t listen to her.

REASONS TO GO: It’s not really bad in any category.
REASONS TO STAY: It’s not really good in any category either.
FAMILY VALUES: There is a fair amount of violence, some gore, a bit of profanity and some sexual references.
TRIVIAL PURSUIT: Many of the scare characters walking around the park during the beginning of the film are actually employed by the Netherworld haunted attraction in Atlanta, one of the top ten in the country.
CRITICAL MASS: As of 10/30/18: Rotten Tomatoes: 40% positive reviews. Metacritic: 25/100
COMPARISON SHOPPING: Blood Fest
FINAL RATING: 5/10
NEXT:
Six Days of Darkness concludes