Friday, May 1, 2026

Mabel: Modest, but endearing

Mabel (2024) • View trailer
3.5 stars (out of five); not rated, and suitable for all ages
Available via: Amazon Prime and other VOD options
By Derrick Bang • Published in The Davis Enterprise, 5.3.26

Back in the day, a sweet little film like this would have found a happy home as an Afterschool Special, which all three networks ran half a dozen times each year, from 1972 through 1996. The thoughtful dramas were topical and/or gently instructive, aimed at the tween demographic, often helping them navigate interpersonal relationships.

 

Callie (Lexi Perkel) is in seventh heaven when she visits the expansive university
botany department where Mrs. G (Judy Greer) works, when not substitute teaching
at the nearby middle school.

Alas, the market appears to have vanished for such films, which is a shame. This one apparently sat on a shelf for two years, before obtaining streaming release with absolutely no fanfare.

More’s the pity, because Mabel is a quiet charmer.

 

We meet 11-year-old Callie (Lexi Perkel) as she carefully digs up a touch-sensitive Mimosa pudica fern in the forest near her Virginia home, and transplants it into a pot. She names it Mabel.

 

It’s a keepsake; her father, David (Quincy Dunn-Baker), has obtained a job in upstate New York, and this is moving day. The family — including mom Angela (Christine Ko) and Callie’s infant sibling — is leaving her beloved woodsy environment for the realm of strip malls and treeless suburban neighborhoods.

 

Callie’s bliss is botany. As the drive proceeds, looking out the rear seat window, she initially calls out the species of each passing clump of trees ... and then, a bit later, glumly recites the name of each big box store and its huge paved parking lot.

 

Callie’s early days in her new school are painful. She’s socially awkward and slightly withdrawn; fleeting efforts to fit in prompt only silent stares in an environment of established social cliques and lab partners. She’s also dismayed by the apathy shown by her sixth-grade science classmates, who seem to have no feeling for her style of intensely focused study.

 

On another note, Callie’s arrival delights next-door neighbor Agnes (Lena Josephine Marano), who similarly seems not to have any friends ... possibly because she comes on a bit strong. But the problem is that Agnes is “only” a lowly fourth-grader, and therefore beneath Callie’s notice.

 

Which, Angela quickly points out, is unkind.

 

Callie’s mostly unhappy school experience shifts when she spots a new substitute teacher pushing a cart laden with plants. Callie follows, winding up in an eighth-grade botany class taught by Mrs. G (Judy Greer). 

 

Her teaching style is challenging and aggressive. She demands her students’ respect and attention, confounding them with all manner of plant lore. That makes Mrs. G awesome, in Callie’s eyes: everything she hopes to become. That she shouldn’t be “moonlighting” in an eighth-grade class is immaterial, and Mrs. G certainly doesn’t suspect anything, given that Callie is so quick to participate.

Apex: Fails to summit

Apex (2026) • View trailer
Two stars (out of five); rated R, for strong violence, grisly images, nudity and profanity
Available via: Netflix

Richard Connell has a lot to answer for.

 

Variations of his iconic 1924 Colliers magazine short story, “The Most Dangerous Game,” have littered television and movie screens ever since the first official Hollywood adaptation in 1932, which featured Joel McCrea, Leslie Banks and Fay Wray.

 

Ben (Taron Egerton) cheerfully shows Sasha (Charlize Theron) the best way to begin
her kayaking journey, offering two possible starting points on her map.

Director Baltasar Kormákur’s newest spin offers little, aside from 50-year-old Charlize Theron’s undeniably impressive physical prowess. Jeremy Robbins’ script begins reasonably well, but then turns gruesomely tasteless and grisly in the second act, and spins off into Cloud Cuckoo Land during the ludicrous climax.

We meet Sasha (Theron) and longtime companion Tommy (Eric Bana) toward the end of their ascent up the steep face of Norway’s imposing Troll Wall, rising above the Romsdalen Valley: a defying-the-elements challenge they’ve obviously done often, on this natural wonder and many others. Their characters are sketched economically but sufficiently; she’s headstrong and impatient, while he’s the voice of reason.

 

A final overhang repeatedly defeats her — as Lawrence Sher’s cinematography induces extreme vertigo — and then the weather turns against them. 

 

“Luck is like anything else you take up a mountain,” Tommy sagely comments. “Eventually, it’ll run out.”

 

They accept defeat and begin to descend; the subsequent crisis is inevitable.

 

Five months later, Sasha travels to Australia’s (fictitious) Wandarra National Park. Her goal: a head-clearing, soul-cleansing whitewater kayaking journey down a lengthy, tempestuous river laden with rapids and falls (most scenes filmed along New South Wales’ majestic Woronora River).

 

Leonard Cohen’s “Boogie Street” plays behind this montage, up to the point Sasha checks in with an affable park ranger (Aaron Pedersen). He cautions that it’s rough country; quite a few people have disappeared, evidenced by a bulletin board laden with dozens of “Missing” notices and photos.

 

She next stops for supplies at a convenience store, where two loutish, good-’ol-boy hunters (Matt Whelan and Rob Carlton) get in her face. She calmly ignores their boorish behavior. The more genial Ben (Taron Egerton), dropping off some of his homemade meat jerky, apologizes for his gender. She insists that isn’t necessary, but nonetheless thanks him for the kindness.

 

They chat a bit; she asks for map directions to her destination. He offers a choice: the “easy way,” or the “hard way.” Naturally, the latter intrigues her more.

 

The first day passes without incident, as Sasha deftly kayaks down the often raging river. The location is wild, awesome and exhilarating; Sher’s camera work and Sigurður Eyþórsson’s rat-a-tat editing enhance the thrills. As the sun drops, exhausted but obviously happy, Sasha sets up camp and sleeps well.

 

The next morning, some of her stuff is missing.