The Old Man & The Gun


A couple of screen veterans doing their thing.

(2018) Biographical Drama (Searchlight) Robert Redford, Casey Affleck, Sissy Spacek, Danny Glover, Tom Waits, Tika Sumpter, Ari Elizabeth Johnson, Teagan Johnson, Gene Jones, John David Washington, Barlow Jacobs, Augustine Frizzell, Jennifer Joplin, Lisa DeRoberts, Carter Bratton, Mike Dennis, Tomas “Dutch” Dekaj, Isiah Whitlock Jr., Patrick Newall, Daniel Britt, Leah Roberts, Elizabeth Moss.  Directed by David Lowery

 

The benefits to having a real, honest-to-goodness movie star in your film is that no matter what, there will be something positive about your film because in the case of stars like Redford and Spacek, they have enough screen presence and expertise on how to best utilize it to make any film they’re in just that much better.

 

Forrest Tucker (Redford) is a man getting on in years, but like others his age still shows up at work. Of course, Tucker’s job is robbing banks and he gets a big kick out of getting away with it. Tucker is not the kind of bank robber who terrorizes folks in the bank and thinks nothing of shooting unarmed people; he’s a gentleman who gives an implicit threat, remarks on gee whiz what a shame it would be if he were forced to resort to violence and he really doesn’t want to shoot you because, for goodness sakes, he really likes you. What bank teller or bank manager would not be charmed?

Decidedly charmed is Jewel (Spacek), a widowed horse rancher whose pickup truck breaks down at the side of the road just as Forrest is trying to get away from the cops after a bank job. Spotting the opportunity for misdirection, he pulls over and assists her while the cops go whizzing by. However, the decoy turns into a romance and Forrest feels comfortable enough with her to tell her what he really does for a living over pie and coffee, although she doesn’t believe him at first.

Decided not charmed is Detective John Hunt (Affleck) who is in the bank while it’s being robbed with his two daughters. Burned out on his job to the point where he’s considering leaving the force, the robbery under his very nose gives him motivation to go after Tucker full throttle. Talk about lighting a fire under one’s butt.

The movie rests on the charm of its actors and Redford, Spacek and Affleck have plenty of charm to go around. They also have plenty of talent at their craft – all of them have Oscar nominations (and wins, in some cases) – to sustain the fairly light-tempered movie. Although the running time is only 93 minutes, it seems a bit longer because the story moves along so slowly and is filled with quite a bit of unnecessary material. Still, it is enjoyable to watch old pros (extending down into the supporting cast) do what they do best, even if what they’re doing essentially is a bit of fluff, despite the opportunity for social commentary – Lowery chooses to simply tell his story simply. I can’t really fault him for that.

REASONS TO SEE: Redford, Affleck and Spacek all deliver excellent performances.
REASONS TO AVOID: A little bit too long; could be argued that it’s too low-key as well.
FAMILY VALUES: There is some profanity.
TRIVIAL PURSUIT: The opening credits are written in the same font as Butch Cassidy and the Sundance Kid (1969) which Redford also starred in.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, Max Go, Microsoft, Movies Anywhere, Redbox,  Vudu, YouTube
CRITICAL MASS: As of 2/18/20: Rotten Tomatoes: 93% positive reviews: Metacritic: 80/100.
COMPARISON SHOPPING: Bonnie and Clyde
FINAL RATING: 6.5/10
NEXT:
Senior Escort Service

Bad Times at the El Royale


Evil can be sexy.

(2018) Thriller (20th Century FoxJeff Bridges, Cynthia Erivo, Dakota Johnson, Jon Hamm, Chris Hemsworth, Cailee Spaeny, Lewis Pullman, Nick Offerman, Xavier Dolan, Shea Whigham, Mark O’Brien, Charles Halford, Jim O’Heir, Gerry Nairn, Alvina August, London A. Morrison, Bethany Brown, Rebecca Toolan, Hannah Jane Zirke, Billy Wickman, William B. Davis, Tally Rodin. Directed by Drew Goddard

 

This was one of my favorite movies of 2018. Goddard hits it out of the park as a group of disparate characters gather at a rundown motel straddling the California-Nevada state line. It is 1969, and the El Royale lost its gaming license a year prior and has fallen on hard times ever since – once it was a playground for the rich and shameless.

Being checked in by whitebread clerk Miles Miller (Pullman) is Father Dan Flynn (Bridges), on the road to see his family; vacuum salesman Laramie Seymour Sullivan (Hamm) who has the patter and the smile to sell an Eskimo an ice cube; singer Darlene Sweet (Erivo) who is on her way to a gig in Reno and needs a cheap place to stay for the night; and young Emily Summerspring (Johnson) who just wants everyone to stay the hell away from her.

As it turns out, all four of the guests have secrets. As it turns out, the hotel has secrets too – one of which is revealed in the prologue. The story is told non-sequentially but we eventually learn why each of them is there. Emily, for example, has kidnapped her kid sister Rose (Spaeny) from a charismatic cult leader named Billy Lee (Hemsworth), who doesn’t take kindly to others stealing his property. It all ends up in a confrontation in the lobby of the El Royale.

I loved the complexity of the story, which Goddard tells non-sequentially, going from room to room to concentrate on each individual guest. There are some twists and turns – some of which are jaw-dropping – and plenty of sex and violence. Comparisons have been made to early Tarantino and the comparison isn’t out of line; in fact, at times, I think that this homage to the pop culture maestro is a little too strong but if one is going to imitate someone, Tarantino is a good one to emulate.

Goddard is aided by a tremendous cast, all of whom deliver strong performances. The real revelation is Tony award winner Erivo who absolutely kills it as Darlene Sweet (clearly based on Darlene Love), and she sings mighty nicely some soul classics from the early 60s. She also has a scene with Bridges that absolutely gave me the chills; I thought for sure she would have gotten a Best Supporting Actress nomination, but sadly she didn’t. She deserved it, though. Her strong work since then has shown that her performance here is no fluke; she is a talent who is going to be one of the biggest stars in Hollywood in short order.

Bridges adds heart to the proceedings and Hamm gives a sly performance. I also loved Hemsworth, who plays Billy Lee as a combination of Charles Manson and Jim Morrison. Dakota Johnson has never been sexier than she is here, which includes her 50 Shades films.

realize that this isn’t going to be a film that appeals to everyone. Some might find it overly violent – and it is. Some might find it overly self-indulgent – which it is. Others might think it’s too Tarantino-esque – guilty as charged. However, I personally look at those as strong points in this film. It’s one that I have watched several times since and it hasn’t lost its appeal. That’s my definition of a great film.

REASONS TO SEE: Extremely well-written and tied nicely together at the end. Strong performances throughout, particularly from Erivo. Places itself nicely in the era. Some of the twists are a bit unexpected.
REASONS TO AVOID: Feels a little bit too much like a Tarantino film.
FAMILY VALUES: There is some fairly graphic violence, brief nudity and sexuality, some drug content and a copious amount of profanity.
TRIVIAL PURSUIT: The El Royale is based loosely on the CalNeva resort in Lake Tahoe. The hotel was once owned by Frank Sinatra.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, HBO Go, Microsoft, Movies Anywhere, Redbox, Vudu, YouTube
CRITICAL MASS: As of 1/18/20: Rotten Tomatoes: 75% positive reviews: Metacritic: 60/100.
COMPARISON SHOPPING: Cabin in the Woods
FINAL RATING: 9.5/10
NEXT:
The Hate U Give

Kin


Some ordinary boys hide extraordinary secrets.

(2018) Science Fiction (SummitMyles Truitt, Jack Reynor, Dennis Quaid, Zoë Kravitz, James Franco, Carrie Coon, Ian Matthew, Gavin Fox, Stephane Garneau-Morten, Michael B. Jordan, Lily Gao, Lukas Penar, Carleigh Beverly, Milton Barnes, Michael Grisley, Khalid Klein, Sean Fowler, Carson Manning, Dave Lewis, Bree Wasylenko. Directed by Jonathan and Josh Baker

Some movies create their own genres by being something original. Others try to create their own genres by taking aspects of others and forcing it into a mold. This film is one of the latter.

Eli (Truitt) is the adopted son of construction boss Hal Solinski (Quaid) whose biological son Jimmy (Reynor) has just gotten out of jail. Hal is full of hope for the 14-year-old Eli (who is smart but introverted) but disappointed on the older Jimmy. However, it is Eli who discovers an alien weapon when scrounging around for scrap metal in an abandoned factory near his Detroit home.

Jimmy owes crime boss Taylor (Franco) a whole lot of money and in order to protect his dad and kid brother (whom he genuinely cares for) decides to steal the cash to pay Taylor. Things don’t go according to plan and soon Jimmy and Eli end up on the road (with Eli blissfully ignorant of the real reason why) being chased not only by vengeful gangsters but also by mysterious aliens who want their gun back.

This late summer sci-fi action crime road coming of age film actually has some things going for it. For one, the special effects – a combination of the digital and the practical – aren’t half-bad. For another, Franco makes for a truly hissable villain. A late-film cameo by A-list habitue Jordan is also a welcome sight.

But the movie is, oh, so predictable. The plot feels unnecessarily manufactured and none of the characters seem particularly personable. They’re all pretty one dimensional without much depth to them at all. The story feels like something you’ve already seen – and yeah, there haven’[t been a lot of alien weapon movies in the archives, but there have been a few.

There isn’t a lot here to recommend it but then again, there isn’t a lot here either to discourage you from seeing it. This is the kind of movie you watch and forget about ten minutes later. If that sounds like something you need, have at it. Otherwise, there are plenty of much better sci-fi action films out there to occupy your time.

REASONS TO SEE: Decent special effects.
REASONS TO AVOID: Predictable plot and generic characters.
FAMILY VALUES: There is violence of both the gangster and sci-fi variety, some sexually suggestive material, profanity and adult thematic material.
TRIVIAL PURSUIT: The Solinski home in the film was the same one used for the 2005 John Singleton film Four Brothers.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, HBO Go, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 1/6/20: Rotten Tomatoes: 32% positive reviews: Metacritic: 35/100.
COMPARISON SHOPPING: A.X.L.
FINAL RATING: 5.5/10
NEXT:
Crazy Rich Asians

White Boy Rick


Like father, like son.

(2018) True Crime Drama (ColumbiaMatthew McConaughey, Richie Merritt, Jennifer Jason Leigh, Rory Cochrane, Bryan Tyree Henry, Bruce Dern, Bel Powley, RJ Cyler, Jonathan Majors, Eddie Marsan, Taylour Paige, Piper Laurie, Raekwon Haynes, Ishmael “Ishdarr” Ali, James Howard, YG, Danny Brown, Kyanna Simone Simpson, Heidi Sulzman, Lauren Ashley Berry. Directed by Yann Demange

 

The crack epidemic of the 80s that led to the “Just Say No” program was tragic in nearly every sense. There were no real winners – and the biggest losers were those in the poorest communities. Entire cities fell victim to the crime wave that followed the crack. Cities like Detroit, for example.

Young Rick Wershe Jr. (Merritt) has been caught up in a bad crowd. It’s not really a wonder; his dad (McConaughey) sells guns illegally, and you can bet those weapons are not being stored in a glass case. They’re finding use in the criminal underworld. Rick’s best friend Boo (Cyler) has connections with the Curry crime family. Rick, nicknamed White Boy because he is the sole Caucasian amongst the people he hangs with, ends up being recruited by a couple of unscrupulous FBI agents (Leigh, Cochrane) to be an informant – the youngest in FBI history at age 14. As it turns out, this doesn’t turn out so well for Rick or the rest of his family.

Demange, a French director best known for ’71, has the perfect directorial temperament for the urban grit this story demands. He manages to get some strong performances out of McConaughey who plays a lowlife hustler whose life is a series of miscalculations, and Merritt, a fairly unknown actor whose broad Baltimore accent doesn’t distract (too much) from the film.

The movie has a fairly bleak outlook; Wershe spent more than 30 years behind bars for a non-violent drug offense while others with more violent offenses arrested near the same time were released earlier. Now, the film doesn’t mention that when he was arrested Wershe had eight kilos of cocaine in his possession, but even so the punishment seems a little excessive. He has since returned to jail for a separate offense.

This is definitely meant to be a cautionary tale and certainly Wershe was no angel and made some bad choices, although to be fair people who live in the kind of poverty and hopelessness that is part and parcel to living in neighborhoods like that generally have few alternatives. This movie is generally pretty well-made, but doesn’t illustrate that fact perhaps as clearly as it might have.

REASONS TO SEE: Demange sets a great sense of tension throughout. McConaughey gives another outstanding performance.
REASONS TO AVOID: A little bit on the bleak side.
FAMILY VALUES: There’s a plethora of profanity, a ton of drug use and references, violence, sexual content and brief nudity.
TRIVIAL PURSUIT: Although the film is set in Detroit, it was actually filmed in Cleveland.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, Sling TV, Starz, Vudu, YouTube
CRITICAL MASS: As of 1/5/20: Rotten Tomatoes:59% positive reviews: Metacritic: 59/100.
COMPARISON SHOPPING: Prince of the City
FINAL RATING: 7/10
NEXT:
Between Two Ferns: The Movie

Can You Ever Forgive Me?


Melissa McCarthy awaits that call from the Academy.

(2018) Biographical Dramedy (Fox Searchlight) Melissa McCarthy, Richard E. Grant, Dolly Wells, Ben Falcone, Gregory Korostishevsky, Jane Curtin, Stephen Spinella, Christian Navarro, Pun Badhu, Erik LaRay Harvey, Brandon Scott Jones, Shae D’lyn, Rosal Colon, Anna Deavere Smith, Marc Evan Jackson, Roberta Wallach, Tina Benko, Sandy Rosenberg, Kevin Carolan, Mary McCann. Directed by Marielle Heller

 

It’s a tough old world out there and anyone who tells you differently is trying to sell you something. Sometimes we find success only to have it snatched away from us and before long, desperation begins to set in as the bills begin to pile up.

Lee Israel (McCarthy) was a successful writer – her biography of columnist, raconteur and perpetual game show contestant in the 1950s Dorothy Kilgallen landed her on the New York Times bestseller list. Those days are long gone; a disastrous biography of cosmetics maven Estee Lauder was in the cut-out bins almost as soon as it was released. Her caustic personality hasn’t endeared her to publishers or her agent (Curtin) and nobody but nobody wants to hire her – in addition to her prickly personality her style of biographies have gone out of favor with the public while caustic tell-alls are all the rage. Her agent tells her bluntly she needs to find another way to earn a living.

This is New York City in the 1990s, one of the most expensive places in the world to live and Lee is 51 years old with no job experience other than writing. Her alcoholism has become so pronounced that when she does find a job as a copy editor, she actually brings her glass, ice and booze into the office, a big no-no. So with her rent months overdue and her beloved cat ill and needing medicine that she can’t afford and in any case she has an unpaid balance that needs to be paid before the vet will even look at the cat, she hits rock bottom.

She sells a letter from Katherine Hepburn that nets her an unexpectedly high amount of cash from a local bookseller but when she discovers a Fanny Brice letter, the bookseller who buys it (a lovely Dolly Wells) gently tells her that the contents of the letter are a little bland, so she can’t give her as much as she’d like to. Undeterred, Israel decides to rewrite the letter for which she gets a handsome fee. Now realizing that this could be a lucrative source of income for her, she begins forging letters out of whole cloth from gone but not quite forgotten stars like Noel Coward, Marlene Dietrich and Dorothy Parker who Lee is particularly adept at imitating.

Lee begins to celebrate by drinking more, endearing her to the closest thing she has to a friend – gay, drug-addicted fading man about town Jack Hock (Grant) who shares a catty wit with Lee who mainly tolerates him but when she starts letting him get close, she soon realizes that there was a reason that she has isolated herself from people. Besides, the FBI has discovered her little game and soon she appears on a list of people forging memorabilia from stars and nobody will buy from her. She has to rely on Jack to sell her letters – and Jack isn’t exactly the most reliable guy on the planet.

Many critics are raving about McCarthy’s performance and with some justification. Some are even predicting an Oscar nomination for her and I’ll admit, there is also some justification for that. I’m not sure this is an Oscar-worthy performance but it’s pretty damn close. Grant is also getting some ink pushing him for a Best Supporting nomination – again, not without justification.

Some will have a tough time with this because McCarthy is almost too good at portraying Israel’s notorious misanthropic side. Near the end of the movie cracks begin to appear in her armor and even as her deeds are coming crashing down around her, one gets the sense that McCarthy might have preferred a less humble Lee at the end of the film.

But for the most part the script is funny and smartly written by Nicole Holofcener – one of my favorite writer/directors out there – and Jeff Whitty. We also get a nice epilogue which explains what happened to both Jack and Lee (both have since sadly passed away) and lets us know that Lee’s wit was just as caustic as ever even after she did her time. This is a strong indie which may have some Oscar buzz around it going into Awards season; keep an eye out for it if you are motivated by such things.

REASONS TO GO: The script is smart and funny. McCarthy does a not-quite-Oscar-worthy turn here.
REASONS TO STAY: Israel is so unlikable that it is difficult to root for her.
FAMILY VALUES: There is a pretty fair amount of profanity (some of it sexual) as well as some brief depictions of drug use.
TRIVIAL PURSUIT: McCarthy’s husband Ben Falcone was attached to the movie before she was. When Julianne Moore who was originally cast as Lee Israel backed out over creative differences, Falcone recommended his wife for the role.
CRITICAL MASS: As of 11/6/18: Rotten Tomatoes: 98% positive reviews. Metacritic: 87/100.
COMPARISON SHOPPING: The Hoax
FINAL RATING: 7.5/10
NEXT:
The Long Shadow

Devil’s Gate (2017)


Bridget Regan is having a bad hair day.

(2017) Horror (IFC) Milo Ventimiglia, Amanda Schull, Shawn Ashmore, Bridget Regan, Jonathan Frakes, Javier Botet, Spencer Drever, Adam Hurtig, Will Woytowich, Scott Johnson, Sarah Constible, Beverly Ndukwu, Jean-François Ferland, Jan Skene. Directed by Clay Staub

 

There’s something about creepy old farms that just seem to lend themselves to horror movies Old time farm implements like pitchforks, scythes and rakes become all the more sinister hanging in a barn when someone is being stalked by a creature or a serial killer. American Gothic has more than one subtext, after all.

A local farmer’s wife, Maria Pritchard (Regan) and her son Jonah (Drever) have disappeared and suspect number one is the husband, abusive but devout Jackson Pritchard (Ventimiglia). They’ve owned their piece of land in Devil’s Gate, North Dakota for generations and while Jackson awaits the arrival of angels to make his barren soil fertile the FBI in the person of Special Agent Daria Francis (Schull) to investigate the disappearance.

One wonders who called her in; it certainly wasn’t good ol’ boy Sheriff Gruenwell (Frakes) who not-so-subtly warns her to stay away from Pritchard; reluctantly, he allows Deputy Colt Salter (Ashmore) to accompany her. The Deputy warns the Special Agent that Jackson, whom he went to high school with, is a little bit twitchy and is known for his explosive temper. Still, nobody is prepared for the police cruiser they arrive on the farm in to be struck by numerous bolts of lightning. I mean, lightning doesn’t strike the same place twice, right?

Well, it does in Devil’s Lake and more to the point on the Pritchard place. Soon it becomes apparent that Jackson may not be as crazy as everyone thinks he is; there are most definitely some things lurking in his basement. There are also beings coming from the sky but they might not be the angels Jackson thinks they are.

The cast is pretty strong with some TV veterans as well as Ashmore who cut his teeth on the X-Men movies. Surprisingly, Ventimiglia chews the scenery more than I’ve ever seen him do before. He was such a compelling figure in Heroes but here he truly embraces the crazy. A fairly high percentage of his dialogue is shrieked rather than stated and when he’s quiet, it’s because he’s giving a menacing mumble. Beyond that, it’s great to see Frakes in a role that isn’t named Will Riker although it is a bit disturbing to realize that 31 years has passed since he originated that role in Star Trek: The Next Generation and the years are definitely taking their toll.

The actors for the most part do their jobs well but they aren’t given a whole lot to work with; the characters really aren’t developed much as writer-director Staub and his co-writer Peter Aperlo don’t give them much in the way of character development to hang their hats on. There are other compensations however; the creature effects are pretty damn good and reminiscent of the work of Guillermo del Toro. There’s also some nifty storm effects although they don’t really break any new ground there.

It’s not an entirely well-filmed movie though. The cinematography ranges from outdoor shots that are so overlit that they look like the sun’s exploding, or indoor shots that look like they were lit by candlelight. Less extremes on both ends would have been sincerely appreciated.

For the most part this is a fairly entertaining sci-fi/horror creature feature, set on a desolate farm in the middle of nowhere a la Texas Chainsaw Massacre loaded with traps a la Saw and some slimy monsters a la Pan’s Labyrinth. This isn’t a rocket science kind of movie but it is a decent enough thrill ride nonetheless.

REASONS TO GO: Some of the special effects are pretty impressive. It is good to see Jonathan Frakes in a non-Star Trek role.
REASONS TO STAY: Ventimiglia is more than a little bit over-the-top. The cinematography is either virtually washed out or just  about too dark to see.
FAMILY VALUES: There is a lot of violence and gore.
TRIVIAL PURSUIT: The town itself is fictional but there is a town in North Dakota called Devil’s Lake.
BEYOND THE THEATERS: Amazon, Google Play, iTunes, Vudu, YouTube
CRITICAL MASS: As of 2/13/18: Rotten Tomatoes: 36% positive reviews. Metacritic: 37/100.
COMPARISON SHOPPING: The Last Exorcism
FINAL RATING: 6/10
NEXT:
For the Love of George

Wetlands (2017)


The secret to life is simply fishing.

(2017) Drama (Abramorama) Adewale Akinnuoye-Agbaje, Heather Graham, Reyna de Courcy, Christopher McDonald, Jennifer Ehle, Louis Mustillo, Barry Markowitz, Sean Ringgold, Rob Morgan, Lauren LaVera, Tyler Elliot Burke, Pamela Dunlap, Melissa Goodwin, Quinn Fucci, Celeste O’Connor, Lou Morey, Jim Fitzpatrick, Natalie Paige Bentley, Dana Kreitz, Donna DeGregorio. Directed by Emanuele Della Valle

 

There comes a time in some lives where we have to start from scratch. Circumstances, bad decisions, bad luck; whatever the case may be, a new beginning becomes necessary once we hit rock bottom. It doesn’t happen to everyone, but it does happen.

Babel “Babs” Johnson (Akinnuoye-Agbaje), the son of an alcoholic religious fanatic and an absent father, has returned to the Jersey shore town outside of Atlantic City where he grew up. It’s in a bleak area of dilapidated homes, empty storefronts and swampy shore known as the Wetlands. He was once a narcotics detective in Philadelphia but a crippling heroin addiction and a heinous act sent him to rehab. He left behind Savannah (Graham), his embittered wife once a trust fund baby but now taking up with Surfer Girl (de Courcy), a surfboard maker who dreams of moving to Hawaii and starting her own business, but has taken to being a drug courier for Jimmy Coconuts (Mustillo) and in a not-too-smart move, skimming some of the drugs and selling them herself.

Babs doesn’t care about any of that. What he’s worried about is his daughter Amy (O’Connor) who despises him for leaving her with her mother and her lover, both of whom are too wrapped up in their own problems to pay much attention to Amy. For now, he’s on the police force of a small town, partnered with Paddy Sheehan (McDonald), a garrulous hard-drinking roustabout who is in debt up to his eyeballs to the local drug lord known as Lollipop (Markowitz) due to his taste in confections and who also happens to be the boss of Jimmy Coconuts. Paddy is married to Kate (Ehle), a newscaster reporting on the pending arrival of a late season hurricane which threatens to cause all sorts of havoc.

If the plot sounds a little bit scattershot, that’s only because it is. Fashionista and first-time director Della Valle seems torn between doing a noir-laced crime thriller and a drama about a broken man trying to start over; either one would have been an interesting movie on its own and if Della Valle had managed to fuse the two together he could have had an indie classic on his hands. Sadly however the two tales don’t mesh very well and we’re left with a choppy, uneven movie that doesn’t have any sort of flow to it. There is a murder in the movie that seems to be the crux of matters but it doesn’t occur until only about 15 minutes are left in the film which gives that last bit an almost rushed feel.

Akinnuoye-Agbaje, who has had numerous supporting roles in a variety of films as well as memorable turns on TV’s Oz and Lost steps out into a much overdue lead role here and he does okay for himself, although he’s not given a very interesting character to work with. Sure, Babs has a lot of baggage and in the hands of a more capable writer could have been unforgettable but we are mainly left with a lot of clichés and backstory that is hinted at throughout the movie (told in black and white flashbacks) until near the end when the big reveal turns out to be not too difficult to predict.

The supporting cast isn’t too bad. McDonald takes the role and runs with it, giving a pretty slimy character a sheen of bonhomie. Ehle gets a role that gives her an opportunity to be sophisticated and sexy and she nails both of those aspects. Graham, who I’ve adored as an actress since her breakout role in Austin Powers: The Spy Who Shagged Me gets to do a role that might bring back memories of her performance in Boogie Nights although the movie isn’t up to the latter’s standard.

There are some really terrific images here, like a roller coaster post-hurricane standing in water but even the hurricane is somewhat anti-climactic. There are a lot of decent threads here but the overall whole is pretty disappointing; everything feels like it’s all build-up and no pay-off. In this town, that kind of thing can get you bumped off.

REASONS TO GO: There are some phenomenal images here.
REASONS TO STAY: The story is a little bit disjointed and the flow is uneven.
FAMILY VALUES: There is a goodly amount of profanity, drug content, sexuality, some nudity and violence.
TRIVIAL PURSUIT: Filming took place in Wildwood, Cape May and other towns along the Jersey coast.
CRITICAL MASS: As of 9/29/17: Rotten Tomatoes: 36% positive reviews. Metacritic: 37/100.
COMPARISON SHOPPING: Blue Ruin
FINAL RATING: 5.5/10
NEXT:
Rebel in the Rye