As an asteroid nears Earth, a man finds himself alone after his wife leaves in a panic. He decides to take a road trip to reunite with his high school sweetheart. Accompanying him is a neighbor who inadvertently puts a wrench in his plan.
Returning to the idealism of their hippie youth, two well-intentioned albeit clueless boomers ditch their former lives as elite New Yorkers to live in rural New Jersey running a hot air balloon business. Their adult children are mortified.
Rhiannon is a fantasy drama series that seamlessly transports the viewer between the concrete modern world and King Arthur's Camelot. After rediscovering her past life as Rhiannon, a magical fairy-princess from King Arthur's kingdom, Joy Williams (16) embraces her destiny to become the protector of Earth and Camelot. Every day with the help of Merlin, the elves and her friends from our world, she... See full summary »
A great Victorian scandal with extraordinary going's on behind the velvet curtains at 19 Cleveland Street, a residential town-house in London's Fitzroy Square. The Ripper Inspector Fred Abberline's last case.
When Zipper gives Marnie a ride on his Harley, they leave Du-Par's Restaurant in the Fairfax neighborhood heading north on Fairfax, then in the next shot are shown going north on Van Nuys Blvd. crossing Magnolia Blvd., which is over ten miles north in the San Fernando Valley. After that brief shot, they are shown sitting on a bench south of the Santa Monica Pier. Santa Monica is nearly due west of the Fairfax area. Unless the BMW dealership in Sherman Oaks paid for a product placement, there's no reason for them to have gone so far north. See more »
[Talking about his chicken]
You wanna meet her?
At your house?
Well, she's been out at the bar most of the night but she's probably home by now.
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a weak script, full of clichéd melodrama, tired gags, and feigned sentimentality
A quarter of a century ago, Susan Sarandon co-starred in Thelma & Louise (1991), still ranked one of the best feminist movies of all time. It sits in the pantheon of cinema greats because of how it combined the finest traditions of storytelling and movie making, and over-arched it with powerful messages about important social issues. Since then, Sarandon's name has been associated with a string of high production-value movies and great entertainment. In this context of high expectations, The Meddler (2016) is a disappointingly mediocre story about an irritating mother who farcically acts-out suppressed grief trauma following her husband's death three years earlier.
Marnie (Susan Sarandon) is a widow desperately wanting to be relevant in other people's lives as a way to avoid dealing with her own. Her husband left her financially comfortable and she likes spending money on others, whether it's a bag of bagels or paying for the entire wedding of someone she barely knows. Her daughter Lori (Rose Byrne) has relationship issues of her own and welcomes her meddling mother like a blowfly on a summer day. If that sounds like a thin storyline, several comic sketches flesh it out: like Marnie's serial visits to that helpful guy in the Apple Store; being "earth mother" for a lesbian couple's wedding; deciding what to do with her husband's ashes; and the teen-awkward steps towards starting a relationship with an ex-cop called Zipper. The 'world's most embarrassing mother' theme is squeezed for all its worth, but the endless texting, unanswered messages, and unannounced drop-ins are more wearying for viewers than for this mother-daughter duo. While buried grief lies somewhere in the deeper layers of this film, it is largely ignored or at best explored with casual superficiality.
Sarandon's acting repertoire means she can handle anything from slapstick to pathos, but she can only work with what she is given. It is a weak script, full of clichéd melodrama, tired gags, and feigned sentimentality. She is on-screen for most of the movie, staying in character as a constantly irritating person who is painfully lacking in self-awareness, or just not particularly bright. If it was directed as a serious drama, the central premise of the story might have led to a satisfying movie. But as a corny comedy, it denigrates the seriousness of its deeper themes and is more squirm-in- your-seat embarrassing than laugh-out-loud kind of funny. While this conclusion may speak against the critical grain, it comes from someone who still has Sarandon on a pedestal.
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