Getting swept up in the stylish pageantry, big or small, of a wedding grabs audiences consistently and well. Curiously, My Mother’s Wedding unfurls as a dramedy where the nuptials in question might be the most inconsequential part of the movie. That’s not a bad thing, as it has happened before in celebrated wedding movies, so long as the film has more to say or is interesting elsewhere. Actress Kristen Scott Thomas’s directorial debut generously tries its hand at offering more than just pure ceremony.
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Throughout Four Letters of Love, two 1970s families in Ireland—one living on a remote western island and another from a more urban city home—experience difficult roads of distressing life events. Between them, there’s a drastic career change, the transition to a new school, future career uncertainty, parental abandonment, a few cases of writer’s block and artist’s block, relationship woes and competing affections before marriage, parental approval of their children’s paths, a handicapping injury, and two losses of parents and spouses.
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Homage was clearly the goal of Danny Turkiewicz with Stealing Pulp Fiction. Matching Tarantino, our two leads of Rudnitsky and Soni are a mismatched pair of buddies with loser exteriors and ambitious interiors with their own acronym-filled lingo and hangout vibe. Jonathan and Steve are a pair classic QT chatty Cathys who incessantly talk and finish each other’s sentence. Choosing some easy traits to match, the movie is edited into several titled chapter sections, includes similar musical cues, and emulates some of the framing and slow-motion camera moves of Quentin’s motifs and techniques.
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In the central performance of Thirsty, Jamie Neumann lays this character bare. In each scene representing a defining choice—whether it’s a buoyant stump moment impressing the gathered public or a privately tormented decision—the actress shows emotional mettle that is tangible, mature, and impressive. Harsher truths and consequences rightfully burn here.
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Putting those stars together with that concept surely has to generate some sizzle with the history and mythology crowds, right? Well, with all pun intended, leave it to Apple and professional retreading screenwriter James Vanderbilt (currently stewarding Netflix’s Murder Mystery series and the legacy sequel vapors of the Scream franchise) to go back to a fading Hollywood well, leap in, and find it dry.
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Even if there are fleeting bits of decent togetherness from the losers, Thunderbolts* is a meta image reclamation project going for no more than light applause, and it shows. By embracing the jokes of being jokes themselves, it all too often still becomes or stays a joke. Thunderbolts* goes to show that when you make something about cheap heroes, you get a cheap return.
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Remember, there are no class or social delineations in public libraries. Libraries are shared spaces for a myriad of quirky topics and people. They’ll welcome everyone from a refined consumer of academic privilege to a homeless denizen trying to buy time out of the elements with an available bathroom for unmet basic needs. Manning their posts and maintaining the materials and facilities, imagine the odd stuff librarians see, encounter, circumvent, reconcile, and clean.
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These behaviorial swerves and jolts are meant to be psychologically jarring, and they do more than frazzle the marriage stability of Mia and Aaryan. However, when these antics again are delivered by a grown adult we know can turn this persona on or off, they nullify believability. Every silly ass peril orchestrated by Virginia, even as they get more brazen and unorthodox as the week continues, are ridiculously overblown and, more often than not, completely preventable.
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The clear goal here in Picture This is to make Simone Ashley look good for the leap from television to movies. Without question, she has every “it” factor necessary and gets to display them radiantly in the film. On the rom-com side, it’s quite the performative wringer between multiple rapid-fire Meet Cutes and face-saving exit strategies through those blind dates, and the actress never breaks a sweat.
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Many would say, going by that selection of talent thrust together in this predominantly single-setting premise, the stars were aligned for a peppy crime comedy in Riff Raff. The potential combinations offer interesting mixes of presences and styles. It’s too bad because the script and the director cannot align characters and tones with any semblance of congruency. Simply put, everyone is in a different movie from their scene partners.
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The grand searches for meaning and the combination of their little ventures are not quite expressive or poignant enough to sear hearts and call upon the need to tug on the tissues, despite a promising effort from Julia Stiles taking on a new role in her lifelong medium. While Wish You Were Here may not fully succeed for many, she deserves more chances in the big chair.
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