Tag Archives: Manny Jacinto

Super Freaky

Freakier Friday

by George Wolf

The story goes that it was the way-too-early early Oscar talk for Jamie Lee Curtis in 2003’s Freaky Friday that inspired her hubby, Christopher Guest, to make For Your Consideration. No surprise, then, that Curtis is the best thing about the sequel.

Freakier Friday catches us up with Dr. Tess Coleman (Curtis) and her daughter, Anna (Lindsay Lohan). Tess is a therapist working on a podcast and a book, while Anna has moved on from teen pop stardom to become a record exec crafting the career of a new young diva (Maitreyi Ramakrishnan from Never Have I Ever).

Anna is also a single mom to Harper (Julia Butters), who isn’t too fond of Lily (Sophia Hammons), the new girl in school who has recently arrived from London. But Anna is pretty fond of Lily’s dad, Eric (Manny Jacinto), and six months later, the high schoolers are faced with a coming wedding and life as stepsisters.

But a multi-tasking psychic (Vanessa Bayer stealing some scenes) at the bachelorette party spurs a double body swap, and when the two teens wake up in the bodies of Tess and Anna, breaking up the wedding gets a freaky bit easier.

Confusion and hijinx mount, as director Nisha Ganatra (Late Night) and writer Jordan Weiss (TV’s Dollface) can’t equal the clever plotting that drove the original. A sight gag set in the record store owned by Anna’s ex, Jake (Chad Michael Murray), does pay dividends, easily rising above the forced antics of food fights, pickleball games, and dance lessons.

But the charming chemistry between Curtis and Lohan hasn’t waned, and anyone who grew up with the first film will appreciate the fun the stars have with the effects of aging. Curtis, especially, seems to be having a ball.

Yes, the “walk a mile in my shoes” lessons are obvious and the finale is contrived, but the film isn’t really trying to do anything more than feed its target audience some warm and relatable nostalgia. And it certainly does that.

Freakier may not be better, but it still can lead to moments of silly fun.

All Who Wander

Cora Bora

by Hope Madden

“Cora, I don’t need you to fix it, I just need you to not break anything else.”

We’ve all had those friends. Some of us have been those friends. Director Hannah Pearl Utt’s generous and forgiving film Cora Bora—with a huge lift from a remarkable lead performance—empathizes with both sides.

Megan Stalter is Cora, and she is clearly delusional. She’s living in LA, playing her acoustic guitar and singing to sparce crowds at open mics and coffee shops; hitting parties where food, cocktails and pot might be on hand and free; and looking for hookups, despite her girlfriend Justine (Jojo T. Gibbs) back in Portland. But it’s OK because they have an open relationship. Although, since Justine isn’t returning calls much, maybe she’s using their “open” relationship to actually start another relationship.

Cora better plan a surprise trip home to double check.

Stalter is a perfect mix of vulnerability and avoidance, her performance never spinning into broad comedy that would lampoon the underlying pain Cora is dealing with. Rhianon Jones’s script wisely suggests that Cora’s behavior is not entirely new, but tremendously amplified since a tragedy hinted at but never belabored. This allows Stalter to be reasonably ridiculous—her actions becoming  “I can’t believe she did that!” in a way that  you do, indeed, kind of believe.

It’s the type of character the Clevelander has honed throughout her career as a comic, but it’s her skill as an actor that allows this to stretch to feature length without wearing out its welcome.

A nimble supporting cast, including Ayden Mayeri and Manny Jacinto in meaty roles and Chelsea Peretti and Darrell Hammond in fun cameos, offer ample opportunity for Stalter to draw you in to Cora’s chaos.

A number of plot threads feel pretty convenient and the resolution of Cora’s arc feels a bit like a cheat, but at no point does Cora Bora lose your interest. And when the time comes for Stalter to prove her dramatic mettle, she more than impresses.

Break Up to Make Up

I Want You Back

by George Wolf

If we’re gonna start talking about I Want You Back, we can’t start at the start, we have to start at the finish. Because no matter what you think about the film’s first 100 minutes, the last five may seriously turn your head.

But before that Linda Blair moment, Emma (Jenny Slate) and Peter (Charlie Day) first meet in the stairwell of their office building. Emma works for an Orthodontist, Peter’s with a retirement home company, and they both just got dumped. Noah (Scott Eastwood, finally doing more acting than posing) left her for Ginny (Clark Backo), Anne (Gina Rodriguez) left him for Logan (Manny Jacinto), and the two new “sadness siblings” are all in their feelings.

So they start hanging out, giving each other enough emotional support to eventually devise a plan. Emma will throw herself at Logan, while Peter (admitting he’s not hot enough to go after Ginny) will make friends with Noah so he can steer him back to Emma. And with that, the Break Up So We Can Make Up game is on!

We all know where this is going, right? If we’ve seen a romantic comedy we do, and once again the trick lies in finding some way to make the characters and their journey to love worth rooting for.

Screenwriters Isaac Aptaker and Elizabeth Berger (the writing duo behind the terrific Love, Simon and TV’s This Is Us) pair with director Jason Orley for a solid game plan, but it’s the irresistible chemistry of Slate and Day that keeps this madcap setup consistently engaging.

Slate is such an underrated talent. Once again she’s able to confidently take a character from hi-jinx (like the proposed threesome with Anne and Logan) to humanity (an unexpected friendship with a withdrawn kid) while making us care enough to welcome all of it.

And while Day is basically bringing another variation of his usual schtick, it’s still funny and, when paired with Slate, endearing.

Which brings us back to that ending, one that lands with such a thud I was really hoping it was merely a dream sequence. Any semblance of nuance or modern perspective on romance is suddenly replaced with the easiest, most rushed and shallow wrap up this side of a TV sitcom – with a set design to match.

What happened to that other movie? We had a nice thing going, and then it just ghosted us! Come back, I know it can work!

Hmmm…maybe we should hatch a plan.