The big news this weekend has nothing to do with what’s showing in theaters, but what’s streaming at home.
The two mightiest releases are the peppy time-traveling Ryan Reynolds vehicle “The Adam Project” on Netflix and Pixar’s delightful 25th animated feature “Turning Red.”
For more adult-themed fare, just turn to Apple TV+ for the six-part series “The Last Days of Ptolemy Grey,” starring Samuel L. Jackson. It’s based on the Walter Mosley novel, and gives much much to chew over.
Here’s your weekly roundup.
“The Adam Project”: “Free Guy” (now available to stream on Disney+) was easily 2021’s most pleasant surprise, an utterly charming, kind-of deep comedy/thriller/romcom set in a video-game world that seemed as fresh as it was hilarious. It was also one of Ryan Reynolds’ finest acting feats and marked his welcome collaboration with director Shawn Levy. The two return for this massively entertaining time-traveling lark, a perfect antidote for these terrible times. Reynolds pulls a “Back to the Future” in the opening moments as his character tries to unsnarl a past misdeed by meeting up with his younger self (Walker Scobell) who goes on to annoy the hell out of him.
Written by a team of four, it’s not nearly as witty nor as kooky as “Free Guy,” but the heartwarming premise, wherein Adam meets up with his inventor dad Louis (Mark Ruffalo) does make you mist up while Zoe Saldana, Catherine Keener and Jennifer Garner (in a sly nod to “13 Going on 30”) bring gravitas to their roles playing respectively Adam’s love interest, Adam’s and Louis’s nemesis and Adam’s mom. The special effects and action set pieces are impressive and the story is simply sweet, swift and sincere. Here’s hoping the Reynolds-Levy collaboration continues in the years ahead. Details: 3 stars out of 4; in select theaters March 9; available March 11 on Netflix.
“The Last Days of Ptolemy Grey”: There is much to admire, respect and occasionally even love about Apple TV+’s six-episode adaptation of author Walter Mosley’s 2011 highly praised novel. Topping that list are the exceptional performances from Samuel L. Jackson as the titular 91-year-old character who undergoes a radical, kind of shady treatment, to subvert his Alzheimer’s, and Dominique Fishback, playing the de facto caregiver and protector of a guy who has something buried underneath the floorboards. The murder of Ptolemy’s nephew propels the narrative forward, but it’s the exchanges between Ptolmey and street-smart teen Robyn (Fishback) that make you stay with the story, even when it lags at times. The production details — the overstuffed, cockroach-infested Atlanta apartment of Ptolemy’s is perfectly rendered — are terrific, along with the realism brought forth from directors such as Debbie Allen, whose work on episode 2 deserves Emmy consideration. It all holds together well, even though this could have been more effectively told in four instead of six episodes. Details: 3 stars; available March 11 on Apple TV+.
“The Weekend Away”: Frothy and instantly forgettable domestic thrillers remain the rage, not just in bookstores but on Netflix. The streamer coughs up another one, and at the very least it features a novel locale — Croatia. But the storyline is absurd, involving the disappearance of a new mother’s (Leighton Meester) flashy, sassy and ready-to-party galpal Kate (Christina Wolfe) who invites Beth to get away from her boring hubby and give Kate’s ex’s credit card a vigorous workout. The acting is meh and the surprises are laughable and don’t make on dollop of sense under any inspection. Author Sarah Alderson adapted her own novel, and the screenplay is made slick with clues, dead-ends and sinful temptations that don’t materialize to much. The “Weekend” ends on such a preposterous note, so you might want to book elsewhere. Details: 1½ stars; available now on Netflix.
“Turning Red”: Pixar steers into trickier YA waters with this delightful, culturally rich game changer that celebrates, even encourages, girls to embrace their imperfections. Sadly bypassing movie theaters, the vibrantly animated 25th feature the Emeryville-based studio is an energetic deep plunge into the topsy-turvy pubescent mindset of 13-year-old Mei (voice of the East Bay’s Rosalie Chiang). She’s is a straight-A student and does everything just so; that is until she transforms into an enormous red panda when she can’t reign in her changing emotions. Her trio of friends — all given unique personalities here — along with her overly controlling mother (voice of Sandra Oh), try to keep her in check, but hormonal challenges make that cumbersome to say the the least. Director and co-writer Domee Shi (the Oscar-winning short “Bao”) takes risks with her story, which wades thoughtfully into some not-often-talked-about issues — family dynamics, cultural traditions, changing bodies. It one of the studio’s finest releases in years. Details: 3½ stars, available March 11 on Disney+.
“Indemnity”: A few weeks back Liam Neeson starred in the lame actioner “Blacklight,” which aspired — and failed — to be a political thriller of merit. This more under-the-radar South African production is far more potent and effective. It uses a “Fugitive”-like premise as a former fireman (Jarrid Geduld) attempts to venture away from an unfortunate incident that killed other firefighters on a call. Just as he gets his emotional sea legs back, he awakens one morning to find his journalist wife (Nicole Fortuin) murdered in their bed. Now a prime suspect, he flees and peels back the layers of a conspiracy that leaves a trail of bodies in its wake. Director/writer Travis Taute takes his sweet time letting the story percolate and his characters develop before the action bubbles over. It’s a solid action film, and paves the way for a most welcome career. Details: 3 stars; now streaming on several platforms.
“Give or Take”: There certainly is no lack of low-budget indies out there to watch, but often you enter at your own risk. Not so director/co-writer Paul Riccio’s disarming dramedy in which two disharmonious characters learn to appreciate each other. Riccio’s story is filled with lovable Cape Cod eccentrics navigating the aftermath of the death of a gay man. New York son Martin (Jamie Effros) wants to be as efficient as he can in settling the estate, which includes a house that his dad shared with his lover (Norbert Leo Butz), a surly, unconventional landscaper left out of the will. All of it is performed with compassion from a screenplay that’s seasoned with smarts not schmaltz. It’s a real find that celebrates caring people coming together rather than being torn apart by their differences. Details: 3 stars; now streaming on multiple platforms.
“Great Freedom”: Sebastian Meise’s damning indictment of an archaic and disgusting anti-gay 1871 German law that was on the books for way too long failed to land a spot in the best international feature category. This Austrian release should be there. Part of that reason is the fierce performance from its two leads, mostly notably the ever adventurous Franz Rogowski. He plays the often-imprisoned Hans, a rebel who refuses to hide that he’s gay. He turnstiles in and out of prison where an inmate Viktor (Georg Friedrich) is serving a sentence for murder. The two start as adversaries and then embark on a volatile relationship. Meise’s uncompromising feature is a thumb in the eye of governments stifling and corrupting the lives of those who don’t conform to an insidious standard. What a shame it didn’t land on the best international feature list for this year’s Oscars. Should have been there. Details: 3½ stars; available now on Fandango and Mubi streaming platforms.
Contact Randy Myers at soitsrandy@gmail.com.
Source: www.mercurynews.com