Color Book: An exquisite character piece

Color Book (2024) • View trailer

4.5 stars (out of five); rated R, for occasional profanity

Available via: Netflix

By Derrick Bang • Published in The Davis Enterprise, 6.28.26

Writer/director David Fortune’s sensitively assembled little film completely erases the divide between viewer and screen; from the very first frame, it feels more like eavesdropping on two actual people.

 

Although this day begins with the excitement of attending an Atlanta Braves baseball
game, the journey for Mason (Jeremiah Alexander Davis, left) and Lucky (William
Catlett) will have unexpected hiccups.

This is a quiet story, constructed from a series of tender little moments that develop into an emotion-laden journey. Following a brief prologue, events take place during a single day. The characters are so well constructed, the performances so lovely, authentic and perfectly modulated, that we’re wholly immersed.

And, at times, genuinely worried.

 

The setting is present-day Atlanta, in a poorer part of the city. Lucky (William Catlett) and his adolescent son Mason (Jeremiah Alexander Daniels) are emotionally damaged, still grieving the unexpected loss of Lucky’s wife, and the boy’s mother, Tammy (Brandee Evans, in a few fleeting flashback sequences).

 

Mason has Down syndrome; we meet him early one morning, as he painstakingly strings beads. Lucky helps the boy into formal clothing; they make waffles. Lucky involves his son in the process; Mason pays careful attention, although he’s clearly more excited about the finished product. 

 

This film’s title reflects how Mason spends much of his time illustrating his thoughts via drawings in a coloring book, which gives the boy a secondary method of “speaking” to his father, and to us.

 

Lucky and Mason join friends in a nearby park, for a celebration of Tammy’s life: an initially somber but ultimately cheerful gathering, as everybody shares memories. Mason, fixated by the large cluster of balloons, is given one as this service concludes; he happily clings to it.

 

As everybody departs, Lucky’s friend Rico (rapper Kia Shine Coleman), connected with the Atlanta Braves, gives them tickets to the following evening’s game at Truist Park. Back at home, Lucky helps Mason into bed, reminding the boy to say his prayers before slipping under the covers.

 

Lucky’s bearing, speech and gaze bespeak more than anguish; he’s also exhausted, in body and spirit, from the constant care and attention that Mason requires. This formerly was a responsibility shared with Tammy, but her absence has placed this loving burden solely on Lucky’s shoulders.

 

No resentment is present. Catlett makes it clear that Lucky cherishes his son, attending to the boy with a tender patience resulting from long experience. Even so, this has taken a toll, exacerbated by the day’s activities.

 

And the following day begins on a worse note.

Jaunt: A captivating little journey

Jaunt (2024) • View trailer

3.5 stars (out of five); not rated, and akin to PG-13 for sensuality, brief nudity and profanity

Available via: Amazon Prime and other VOD options

By Derrick Bang

Folks with a fondness for California’s scenic coastline will get a kick out of this film.

 

Writer/director Alexi Papalexopoulos’ accomplished feature debut is a road trip in both the physical and spiritual sense: a Golden State journey with well-chosen stops both scenic and touristy.

 

While pausing their California coastal drive for some quiet time on a beach, Madeline
(Emanuela Boisbouvier) listens attentively while Paul (Blake Worrell) begins to
acknowledge the mess that he has made of his life.

Middle-aged, shambling Paul Wesson (Blake Worrell) is introduced at low ebb in his unkempt West Hollywood apartment, laden with dirty dishes, food containers and dead plants. He looks like he hasn’t gotten out much since the COVID epidemic, and — on this average morning — attends a therapy “session” online, rather than in person.

The kind face in the screen obviously has urged Paul, repeatedly, to get outside and jog the nearby Runyon Canyon hiking trail: a modest 2.8-mile ascent with lavish views from Inspiration Point and Clouds Rest. (Papalexopoulos’ film was shot entirely on location, with Luka Bazeli handling the often majestic cinematography.)

 

This time, finally — annoyed by his expanding paunch — Paul goes for it. He manages a half-hearted jog/walk to the first lookout point; he arrives panting, as though he might pass out any moment. At which point (we heave a disapproving sigh), he bums a cigarette from the only other person present: a twentysomething French woman, sitting on a bench and chatting on her phone.

 

To his surprise, she isn’t put off by his appearance. Her gaze is playful, her smile amused; she explains that, in France, it’s customary to exchange small talk for as long as shared cigarettes burn. 

 

She’s Madeline (Emanuela Boisbouvier), a free spirit who has come to California because, well, that’s what some Europeans yearn to do. Paul makes vague references to a former career as a photographer, and maker of low-budget movies. He surprises himself by impulsively inviting her to dinner; she accepts. He shares his address; they part ... and then he remembers what his apartment looks like.

 

Cue a droll montage of frantic cleaning.

 

Alas, his chosen restaurant unexpectedly is closed for the evening. Having learned that Paul knows how to cook, Madeline insists they simply return for a meal at his place. They eat, chat, dance, flirt and wind up in bed.

 

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.

Sketch: Colorfully imaginative

Sketch (2024) • View trailer

3.5 stars (out of five). Rated PG, for scary fantasy action and kid-level rude humor

Available via: Amazon Prime and other VOD options

By Derrick Bang

Family-friendly films that persuasively deal with childhood grief are rare, and writer/director Seth Worley takes a cheekily original approach with this enjoyable little indie. His touch is Spielberg lite.

 

Amber (Bianca Belle, left), her brother Jack (Kue Lawrence, center) and tag-along frenemy
Bowman (Kalon Cox) are horrified to discover that they're being stalked by the enormous
"Blind One," one of many creatures brought to life from Amber's imagination.

Ten-year-old Amber Wyatt (Bianca Belle), artistic by nature, is deeply unhappy. She’s unable to process the unexpected death of her mother, Ally, and succumbs to dark thoughts that manifest in violent scrawled drawings. They’re dominated by monsters, blood and imagined revenge for other things that bother her ... such as unwanted attention from school mate Bowman Lynch (Kalon Cox).

Amber isn’t quite a brat, but she’s willful, sullen, disrespectful and difficult to handle.

 

Her 12-year-old brother Jack (Kue Lawrence) and their father, Taylor (Tony Hale), are stoic on the subject ... primarily because the latter has removed all traces of Ally from the house, which he also intends to sell as quickly as possible. Their refusal to face the loss is perhaps even less healthy, but Taylor is stuck; up to this point, Jack has quietly followed his lead.

 

Worley takes his time with this first act, establishing the daily school bus dynamics between these three children and several others, and the easily exasperated driver, Miss Thompson (Randa Newman). Taylor has put his Realtor sister Liz (D’Arcy Carden) in charge of selling the house; she cautions him every day to be absent when prospective buyers are expected, but — in a cute running gag — something always forces him to interrupt, much to Liz’s eye-rolling vexation.

 

Liz gets it, though; at one telling moment, she asks if Taylor truly wants to sell the house.

 

He briefly hesitates, prompting her to say, “You paused” (a line we’ll hear again).

 

When some of Amber’s drawings come to the attention of school counselor Dr. Land (Nadia Benavides, marvelous in this brief role), the girl is surprised by the result. Instead of a lecture, she’s given a fresh notebook, as Dr. Land points out that it’s better to put the darkness on paper, rather than leaving it bottled up inside, where it could fester and prompt harmful, real-life behavior.

 

She begins to fill the notebook pages with renewed enthusiasm, and eventually — at a crucial bonding moment — allows her father to see what she has drawn. This is a wonderful scene, with the two of them seated in the family car, particularly when Taylor is given the opportunity to prove how much his loves his daughter. Hale and Belle are note-perfect.

 

Meanwhile ... while exploring the nearby woods, texting and not paying attention to his surroundings, Jack stumbles, crashes down a slope, and stops at the edge of a large pond. His hand is badly cut; his phone falls into the water. When fished out, the screen is cracked.

 

The following morning, Jack is surprised to see that his hand is fully healed, the phone good as new. Further experimentation reveals that the pond has the ability to make things whole.

Bob Trevino LIkes It: So do I

Bob Trevino Likes It (2024) • View trailer

3.5 stars (out of five). Rated PG-13, for dramatic intensity and brief profanity

Available via: Hulu and other VOD options

By Derrick Bang

This is a sweet little film, anchored by star Barbie Ferreira’s excellent, frequently heartbreaking performance.

 

It’s also one of the saddest films I’ve ever seen, with a concluding emotional wallop that left me a wreck. (In a good way.)

 

Although their initial in-person meeting is a near disaster, Lily (Barbie Ferreira) and Bob
(John Leguizamo) recover quickly, and soon settle into an increasingly strong friendship.

Indie writer/director Tracie Laymon’s gentle character study is built around a “life truth” that not enough people take to heart: Friends are the family we choose.

This is particularly important for those unfortunate enough to have toxic biological family members.

 

That’s the case with Lily Trevino (Ferreira), introduced at low ebb, having just realized that her boyfriend is cheating on her. (He was stupid enough to send Lily a message intended for the other woman.) Cinematographer John Rosario’s mercilessly tight close-up leaves no room for Ferreira to “cheat” the moment; her embarrassment, humiliation and anger are as palpable as the tears that flow down her cheeks.

 

And what does Lily do, in the moment? Rather than sending a “drop dead” message that the guy deserves, she more-or-less lets him off the hook, as if toying with her emotions is no big deal.

 

Alas, Lily comes by this reaction naturally, having lost her mother at age 4, and thereafter been raised by her selfish, manipulative and emotionally abusive father, Robert (French Stewart, whose performance takes no prisoners). Watching the two of them together is sheer agony. We grieve for her.

 

Lily isn’t quite a failure-to-launch, but she’s still a mess: self-esteem that wouldn’t fill a thimble, no respect for her body image, too many credit cards maxed to their limit, and no sense of basic survival skills.

 

She lucked into a good job, though, as a live-in aide for wheelchair-bound Daphne (Lauren “Lolo” Spencer), roughly the same age. But that’s also a crutch of sorts, because it allows Lily the luxury of not having to worry about more than grocery shopping, preparing  meals and being a compassionate companion. Which she is.

 

Even Lily’s attempt at self-improvement by seeing a counselor goes awry, when the poor woman (Ashlyn Moore), fresh on the job, bursts into tears after hearing a recitation of details about Lily’s horrific childhood.

Winter Spring Summer or Fall: A romantic charmer

Winter Spring Summer or Fall (2024) • View trailer

3.5 stars (out of five). Rated R, for teen drug and alcohol use, and brief profanity

Available via: Amazon Prime and other VOD options

By Derrick Bang • Published in The Davis Enterprise, 8.31.25

Ever since writer John Hughes started what became a popular sub-genre with Pretty in Pink and Some Kind of Wonderful, back in the late 1980s, one or two similarly witty, dialogue-heavy and sharply observed young romance films — blessed with similarly charismatic stars — have arrived every decade.

 

After initially failing to click, Remi (Jenna Ortega) and Barnes (Percy Hynes White)
gradually begin to enjoy each other's company. But can their relationship survive two
divergent career paths?

Before Sunrise (and its two sequels) and Nick and Norah’s Infinite Playlist immediately spring to mind.

This one belongs in their company.

 

Dan Schoffer’s cleverly structured narrative — which owes a nod to Alan Alda’s The Four Seasons — is matched by Tiffany Paulsen’s noteworthy feature directorial debut. Her touch is just right with each character, although she’s fortunate that stars Jenna Ortega and Percy Hynes White already share combustible chemistry. 

 

Although films of this sort are by nature fantasies, they work when we become invested in the characters; that happens quickly here.

 

(Fair warning: Viewers inclined toward cynical smirks and rolled eyes are advised to seek their pleasure elsewhere.)

 

High School senior Barnes Hawthorne (Hynes White) spots Remi Aguilar (Ortega) one winter day, while visiting his friend P.J. (Elias Kacavas), who lives across the street from her. P.J. explains that the young woman is super-smart, and has just completed a Google Fellowship interview. Barnes’ expression is thoughtful, his gaze intrigued.

 

Later that day, Barnes and Remi wind up on the same train; he’s attending a concert in New York, and she has an appointment to tour Columbia University. After some initial awkwardness — “I’m not a stalker,” he somewhat ineptly insists — they begin chatting, and share plans following their completion of high school. She intends to attend Harvard and become a lawyer, like her parents; he desires an unspecified gap year.

 

Little realizing that it makes her sound pushy, Remi suggests that he could use the time productively, by volunteering with sea turtles or working with a music group. (She comes by this behavior naturally, as we’ll discover after spending some time with her parents.) Barnes, sensing things aren’t working, counters by extoling the virtues of David Byrne and the Talking Heads.

 

Despite some mildly graceless conversational misfires, Barnes keeps trying. Alas, matters take an unfortunate turn after they disembark, and the already weak connection is severed.

 

Eden: Paradise Lost

Eden (2024) • View trailer

Three stars (out of five). Rated R, for strong violence, sexual content, graphic nudity and frequent profanity

Available via: Movie theaters

By Derrick Bang

Director Ron Howard — whose résumé leans toward uplifting, can-do dramas such as Apollo 13, Cinderella Man and Rush — seems a very odd choice for this fact-based saga of deplorable, depraved and misanthropic human behavior.

 

Friedrich Ritter (Jude Law) and longtime companion Dore Strauch (Vanessa Kirby) are
less than thrilled, when they suddenly must share their island with a family of
know-nothing newcomers.

What has been dubbed “The Galapagos Mystery” has fueled numerous documentaries and books, the most recent being author Abbott Kahler’s Eden Undone: A True Story of Sex, Murder and Utopia at the Dawn of World War II. The saga has long been well-known across the pond, although this new film likely will arouse interest here in the States.

German physician Friedrich Ritter and his patient-turned-companion, Dore Strauch, were the first “settlers” to arrive on the Galapagos’ Floreana Island in 1929: so chosen since it is one of the few with a (minimal) potable water supply. They spent three contented — if arduous — years as the island’s sole inhabitants. Ritter sent accounts of their lives back to Germany — picked up by occasional passing ships, and then published in newspapers and magazines — and pounded away at an increasingly Nietzschesque manifesto detailing his contempt for mankind.

 

They were joined in 1932 by WWI veteran Heinz Wittmer, his pregnant new wife Margret, and his teenage son Harry, having been inspired by the articles. Although the isolationist Ritter and Strauch likely were annoyed by these “intruders,” they and the Wittmers respected each other’s space.

 

This wary dynamic was completely torpedoed by the next arrivals: Austrian-born Eloise Wehrborn de Wagner-Bosquet, a shameless hedonist accompanied by her two German lovers, Robert Philippson and Rudolf Lorenz, along with an Ecuadorian “worker” named Manuel Borja. Claiming to be a baroness — a title open to historical debate — she systematically bullied and intimidated the others via an insufferably arrogant blend of entitlement, seduction, treachery and a hustler’s talent for exploiting psychological weaknesses.

 

What eventually occurred ... well, that would spoil the story.

 

Howard and co-scripter Noah Pink dumped an intriguing ensemble cast into this combustible brew of jealousy, resentment and worse, although some play their roles better than others. Jude Law and Vanessa Kirby aren’t entirely successful with their German accents, as Ritter and Strauch, although they otherwise slide deftly into the sort of eccentric tics and mannerisms that would be expected of a couple isolated for so long.

 

Law looks appropriately rugged and hardy, and he puts considerable grim intensity into Ritter’s contemptuous denouncements. Kirby’s Strauch is softer, with a fondness for the burro that ferries their heavier goods; she also limps painfully, having embraced this rustic lifestyle in the hope that her multiple sclerosis will go into remission.

 

Law plays Ritter as an obstinate fanatic; Kirby is more nuanced. Strauch tends to walk around barefoot; the first of this film’s many wince-inducing moments comes during the couple’s evening ritual, as Ritter carefully digs parasitic insects out of Strauch’s skin.

 

Don't Let's Go to the Dogs Tonight: Ferociously memorable

Don't Let's Go to the Dogs Tonight (2024) • View trailer

Five stars (out of five). Rated R, for violent/bloody images, profanity, sexual assault and underage smoking and drinking

Available via: Movie theaters

By Derrick Bang • Published in The Davis Enterprise, 7.20.25 

Films this powerful don’t come along very often.

 

Director/scripter Embeth Davidtz’s boldly unflinching drama is adapted from Alexandra Fuller’s award-winning 2001 memoir, which depicts the author’s childhood in white-controlled Rhodesia, before and after that country’s 1980 independence and re-christening as Zimbabwe.

 

Sarah (Zikhona Bali), the family housekeeper, is the only adult who takes any interest
in young Bobo (Lexi Venter), who has become an almost uncontrollable feral child.

At first blush, Davidtz seems an unlikely choice as filmmaker; she’s best known as the accomplished actress who delivered memorable performances in Schindler’s List, Junebug, Mansfield Park and television shows such as Mad Men and Ray Donovan. As it happens, though, at age 8 the American-born Davidtz moved with her South African parents to Pretoria in the early 1970s, where she grew up confronted by that country’s institutional racism.

It's not hard to understand what drove her to this material.

 

Her film gets its quiet, skin-crawling intensity from the casual indifference with which its “superior” characters of privilege — or power — turn a blind eye to casual, systemic cruelty. In that respect, Davidtz’s film deserves pride of place alongside classics such as Schindler’s List and The Zone of Interest, although this one is even more disturbing because of its child’s-eye perspective.

 

The story’s primary character — she cannot possibly be termed a “heroine” — is 7-year-old Bobo Fuller (Lexi Venter, simply amazing), who lives on a family farm on the outskirts of Umtali, with her teenage older sister Vanessa (Anina Hope Reed) and their parents, Tim (Rob Van Vuuren) and Nicola (Davidtz). Three dogs are a constant presence.

 

It’s a dangerous time, days away from a presidential election between Robert Mugabe, favored by Black Africans, and the Western-educated Bishop Abel Muzorewa, viewed by his countrymen as a puppet controlled by the minority white population. Unrest has turned violent, with members of both races being slaughtered (although radio and TV coverage focuses on white victims).

 

The girls are warned never to enter their parents’ bedroom at night, because they sleep with loaded guns.

 

To say that Bobo runs wild is an understatement. She’s a completely unsupervised feral child: perpetually grimy and smelly, often dressed in the same ragged shorts and a gray T-shirt with the slogan “Come to Umtali and get bombed,” which is a) tasteless for somebody her age; and b) laced with an unsettling double meaning.

 

She often roars through a nearby village on a dirt bike, rifle slung over one shoulder, taunting the Black children to chase her. She parrots racist beliefs — “Black people have no last names” — not because she understands how hateful they are, or even what they mean, but simply because that’s what she hears her parents and their friends say.

Holy Cow: An earthy, beguiling character study

Holy Cow (2024) • View trailer

3.5 stars (out of five). Not rated, but equivalent to an R, for nudity, explicit sexuality and occasional violence

Available via: Amazon Prime and other video-on-demand options

By Derrick Bang

Discovering charming little films like this one, and bringing them to viewer attention, is my favorite part of this job.

 

Having yet yet another hindrance to his idealistic goal of making the best possible
Comté cheese, Totone (Clément Faveau) considers his options ... and younger
sister Claire (Luna Garret) has faith that he'll work it out.

French director Louise Courvoisier’s feature film debut is an accomplished coming-of-age saga so raw, naturalistic and intimate at times, that it often feels like we’re eavesdropping on actual people, rather than actors playing roles.

(As a quick sidebar, her film’s original title — Vingt dieux — translates to Twenty Gods, not Holy Cow: a terrible substitution slapped on by the American distributor.)

 

The lush farmland setting of Jura, in the eastern French region of Bourgogne-Franche-Comté, is captured splendidly by cinematographer Elio Balezeaux; this has much to do with the film’s cinema-verité atmosphere. That said, Courvoisier and Balezeaux don’t exploit these countryside locales for their natural beauty; this is an environment of dirt, mud, sweat, hard work, earthy casual sex and often flinty relationships.

 

We sense that most of these folks don’t bathe very often.

 

Nor does the story — by Courvoisier, Théo Abadie and Marcia Romano — make it easy on us. Their main character is a thoroughly unlikeable waste of space who — unlike the artisan cheeses produced within this region — doesn’t improve with age and additional exposure ... at least, not for a very long time.

 

In fairness, 18-year-old Totone (newcomer Clément Faveau) never had a chance, having been raised by an alcoholic, hands-off father whose wife apparently fled long ago. We meet the deadbeat teenager during a typical late-night binge of booze, cigarettes and casual sex, accompanied by best friends Jean-Yves (Mathis Bernard) and Francis (Dimitry Baudry), who aren’t much better.

 

By day, the badly hungover Totone does nothing to help his father with the family’s struggling Pimorin Cheese Dairy. His sole display of responsibility is taking younger sister Claire (Luna Garret) to school each day, after which he joins Francis while they watch Jean-Yves work on his lovingly modified stock car.

 

This routine abruptly shatters when Totone’s father wrecks his car and dies, having gotten behind the wheel while hopelessly drunk. (We gasp at the stupidity of this, but apparently these folks don’t watch out for their own.) This isn’t a community with options such as social services; Totone has no income, the dairy collapses without his father’s guidance, and now the young man must care for Claire 24/7.

Jane Austen Wrecked My Life: A gentle homage

Jane Austen Wrecked My Life (2024) • View trailer

3.5 stars (out of five). Rated R, for nudity, sexual content and occasional profanity

Available via: Movie theaters

By Derrick Bang • Published in The Davis Enterprise, 6.1.25

How can you not adore a film whose protagonist works in a bookstore?

 

And not just any bookstore. Agathe (Camille Rutherford) is one of several employees at France’s fabled Shakespeare & Co. (an actual English-language bookstore opened in 1951, on Paris’ Left Bank). She’s introduced while filing books late one evening, dancing buoyantly to Marie Modiano’s sparkling cover of Peter von Poehl’s “Cry to Me.”

 

During a Jane Austen-style costume ball suffused with Regency-era atmosphere,
Agathe (Camille Rutherford) finds herself unexpectedly attracted to the initially
stuffy Oliver (Charlie Anson)

It soon becomes clear that the bookstore is more “home” to Agathe than the flat she shares with her sister and 8-year-old nephew. Agathe is damaged goods, having failed to recover from the traffic accident that killed both her parents, but left her physically unharmed. She’s shy and withdrawn, bicycles to and from work, and hasn’t had an intimate relationship in two years.

Agathe adores the works of Jane Austen, and is herself a would-be author ... but this, too, is a frustration. Each new effort at a novel yields a few unpromising chapters, and then she stalls.

 

Félix (Pablo Pauly), her best friend and co-worker, is her polar opposite: bold, outgoing and cheerfully promiscuous. He and Agathe flirt constantly, but without significance.

 

“I’m not into Uber sex,” she laments, and — given that her blueprint for romance is found solely within the pages of Austen’s novels — adds that she’s “living in the wrong century.” She compares herself to Anne Elliot, from Austen’s Persuasion, who has “let life pass her by.”

 

Then, one day, literary inspiration strikes from the bottom of a cup of saké. She pounds out a few chapters, but then the well again goes dry. The difference, this time, is that Félix deems those first chapters very promising; he wants to know what happens next ... but Agathe is stuck.

 

Without her knowledge, Félix sends those chapters to England’s Jane Austen Residency, an exclusive annual writers’ workshop. Agathe is accepted, which throws her into a panic; she certainly can’t bicycle that far. Félix won’t let her balk; he hustles her onto a ferry, and she’s met at the other end by the very British Oliver (Charlie Anson), Jane Austen’s great-great-great-nephew, who has been sent to collect her. 

 

Which involves a long drive in his very small sports car.

 

As first encounters go, it’s a disaster. Among his many (apparent) failings, Oliver insists that his great-great-great aunt is “overrated.” 

 

Once at the residency, Agathe is greeted by Oliver’s parents, Beth (Liz Crowther) and Todd (Alan Fairbairn). The former is gracious and bubbly; the latter, sliding into dementia, has a habit of quoting poetry in their lavish estate’s garden ... sans pants.

 

The residency will last a fortnight, during which the attendees are encouraged to write whenever and wherever — within the estate, or on its grounds — the Muse strikes. The workshop will conclude with a lavish, Regency-era ball, after which the writers will read portions of their work aloud.

 

They’re a tiny group. The pompous Olympia (Lola Peploe) arrogantly dismisses Agathe’s belief that “some books become part of our lives,” instead insisting that books aren’t worth a damn unless they elevate consciousness, incite political upheaval, or change the world in some other way. The quieter Chéryl (Annabelle Lengronne) is more accommodating.

 

As the days pass, Agathe frequently sees Olympia and Chéryl hard at work ... while she stares forlornly at her laptop screen.

The Luckiest Man in America: A quirky, fact-based morality tale

The Luckiest Man in America (2024) • View trailer

Four stars (out of five). Rated R, for frequent profanity

Available via: Amazon Prime and other VOD options

By Derrick Bang

This is an excellent thematic companion to 1994’s Quiz Show.

 

But while that earlier game show scandal drama is a handsomely mounted major studio production, this new film from director/co-scripter Samir Oliveros is cheekily retro and unapologetically low-budget ... which adds to its sense of period authenticity.

 

While fellow contestant Ed Long (Brian Geraghty, left) watches attentively, Michael Larson
(Paul Walter Hauser) prepares for his firt spin of the "Big Board" on the TV game show
Press Your Luck.

Modest production values aside, Oliveros nonetheless gets the most from a strong cast, as this jaw-dropping saga unfolds. And although he and co-writers Mattie Briggs and Amanda Freedman carefully insist that some details have been “massaged” for dramatic intensity, much of what unfolds here — including the names of all key participants — goes down just as it happened.

Following a brief first act, events take place during a single day of taping for Press Your Luck, a CBS game show that ran from 1983 to 1986 ... and likely would be entirely forgotten today, were it not for what happened on May 19, 1984.

 

Shy, withdrawn, down-on-his-luck ice cream truck driver Michael Larson (Paul Walter Hauser), a hapless social misfit, sneaks into Press Your Luck auditions. He cheekily claims somebody else’s appointment slot, gets caught and ejected ... but not before winning over executive producer Bill Carruthers (David Strathairn), who suspects the guy would make “good television.”

 

Michael has a great back-story. He admits driving across the entire country in his ice cream truck, and hopes to win enough cash to impress his estranged wife and young daughter.

 

Casting director Chuck (Shamier Anderson) is dubious. Something doesn’t seem right about the guy.

 

Carruthers nonetheless books Michael for the next day’s taping. As requested, he arrives wearing a suit jacket and tie ... making him even more comical, atop baggy shorts (which won’t be visible during taping). The obviously nervous and twitchy Michael is ushered onto the set by Sylvia (Maisie Williams), a kind-hearted production assistant who nonetheless eyes him warily.

 

Michael takes the middle “hot seat” between co-contestants Ed Long (Brian Geraghty) and Janie Litras (Patti Harrison): the former a minister, the latter a dental assistant.

 

Walton Goggins is note-perfect as smarmy show host Peter Tomarken, whose occasional off-color jokes — sometimes at the expense of contestants — delight the studio audience.

 

(Tomarken is a product of that still less-enlightened time. Remember how Richard Dawson always kissed every female contestants on Family Feud? Yuck!)