What I’m watching: Tom Brady and M. Night ShyamalanDate: 2/13/2023 New to Theaters: “80 for Brady”
Four best friends in their golden years embrace life to the fullest by embarking on a quest to see Tom Brady and the Patriots play in the Super Bowl in “80 For Brady.”
I’ll be honest – I was never a Patriots fan growing up, so the concept of an ensemble comedy that trojan horses as a Tom Brady vanity project sounded wholly unpleasant to me. No one can deny Brady respect for his ample achievements on the field, but years of egocentric behaviors and his cockroach-esque ability to remain relevant have worn thin on me and most other football fans outside of New England. (Hey, at least he finally retired). I just spent over a decade tortured by his brilliant performances on the field – why would I want to watch a 90-minute movie basking in his emanating football glow?
Loosely based on a true story, “80 For Brady” finds the future Hall of Famer trying to jumpstart his Hollywood career with the help of four lionized legends – Sally Field, Jane Fonda, Rita Moreno and Lilly Tomlin – in a breezy ensemble comedy. To my surprise, “80 For Brady” scores a winning, if not wholly inconsequential, effort from its formulaic narrative playbook.
It’s hard to fumble a feature with such dynamic talent on display. Field, Fonda, Moreno and Tomlin imbue their distinctive movie star presence into the best friend quartet who embark on a grand adventure to the extravagant stage of Super Bowl Sunday. What the characters lack in textured dimensions on the page, the personable stars readily make up for in their sheer ability to develop organic chemistry onscreen. It’s a blast to see each actor play off each other with effortless ease as they form a lively, lived-in comedic rapport that never feels false onscreen. A who’s who of star-studded cameos, including the likes of Guy Fieri, Rob Gronkowski and Marshawn Lynch, also elicits laughs in their memorable appearances.
As Brady once did during his football career, the core four stars truly elevate what could be lukewarm material in lesser hands. “80 For Brady” features a hearty helping of cliched plot dynamics, melodramatic tugs at the heartstrings, and underdeveloped character arcs. However, those shortcomings are consistently patched together through the sheer gravitas of its central stars. Lilly Tomlin’s arc as Lou, a woman who finds solace in sports while undergoing medical difficulties, especially resonates in unexpectedly emotional ways.
I do give screenwriters Emily Halpern and Sarah Haskins praise for defining an expressive voice within the narrative’s contrived confines. Whereas a lot of senior ensemble films talk down to their characters and audiences by depicting protagonists as the bud of lame duck jokes, Halpern and Haskins wisely see the empowerment in the quartet continuing to embrace colorful hijinks in their elder years. This warm approach helps define “80 For Brady” as an affectionate portrait of friendship’s enduring power.
Still, “80 For Brady” settles for an acceptable field goal rather than scoring a gratifying touchdown. The film’s somewhat cynical roots as a Brady-inspired piece of hero worship are inherently unavoidable. Brady gives an earnest enough performance playing himself, but the movie can sometimes stumble from feeling like a vapid commercial for the superstar’s greatness. Overwhelming propaganda for the National Football League is equally present, with the film taking every chance it gets to sing the admittedly dysfunctional sport’s praises. It’s also hard to ignore the film’s slight appeals. Despite its strengths, “80 For Brady” and its slight nature are ultimately destined to evaporate from viewers’ memory banks quickly after the end credits roll.
Misgivings aside, “80 For Brady” works well as a brisk comedy that highlights the magnetic talents of its star-studded talents. If anything, Patriot fans will enjoy the splendors of re-living the iconic Patriots-Falcons Super Bowl comeback all over again. For Falcons fans still in a state of traumatic shock, maybe this is one you want to skip out on.
Also New to Theaters: “Knock at the Cabin”
A tight-knit family enjoying their vacation is presented with a world-altering conundrum when four strangers arrive at their doorstep in “Knock at the Cabin.”
Embracing a sinister set-up steeped in unsettling ambiguity is second nature for writer/director M. Night Shyamalan. Few auteurs in the industry can cultivate such passionate responses with their work. After the roaring success of “The Sixth Sense” and “Unbreakable” earned him “the next Steven Spielberg” distinction, a wave of divisive features led to many film fans disparaging his talents. I can’t say his haters are entirely off base, as blockbuster duds like “The Last Airbender” and “After Earth” are wildly disjointed and ineffective in execution.
Through his hits and misses, I’ve always admired Shyamalan. His distinct, fable-esque storytelling often incites atmosphere and contemplative angst in ways few filmmakers can match. His infectious exuberance behind the camera is also endlessly enjoyable to bask in. Shyamalan consistently crafts distinctly imaginative features that resonate deeply with me in their breathtaking, pie-in-the-sky ambition.
With “Knock at the Cabin,” Shyamalan continues his second-act renaissance of conjuring low-budget, self-funded projects. Recent works in this career wave, such as 2019’s “Glass” and 2021’s “Old,” delivered rich thematic textures and an unparalleled stylistic verve. While “Knock” may not add to the sum of its parts, it still provides an unnerving thrill ride.
“Knock” wastes no time establishing its oppressive dread. The unannounced presence of four strangers places an unfathomable responsibility on the shoulders of husbands, Eric and Andrew, and their daughter Wen. The ensemble of mysterious guests are not your typical home invaders. Instead, they earnestly try to get to know the family while decoding their hidden yet deeply personal philosophy.
I would never spoil the numerous narrative surprises baked within a Shymalan production, but I can say the writer/director continues to imbue his trademark touch behind the camera. Shyamalan remains wonderfully adventurous in his daring technical craft, jostling his camera with kinetic framing choices and a captivating dynamism. His stylistic edge is thoughtfully executed throughout, skillfully working to establish nerve-wracking tensions within the tight quarters of the film’s one-room setting. I especially appreciate Shyamalan’s intimate touch behind the camera. Several up-close scenes work wonders in extenuating the characters and their personal plights.
In adapting Paul G. Tremblay’s 2018 novel, Shyamalan continues to embrace familiar narrative tenants. “Knock at the Cabin” fits his sensibilities like a glove, spinning a moral parable embellished by the infusion of macabre reflections on human nature. The narrative boasts a compelling allure with every twist and turn, yet Shyamalan never forgets to evoke a sense of warmth underneath the chaos. His emotionally-charged flashbacks and sensitive character-building ensure a genuine rooting interest throughout “Knock’s” narrative roller coaster ride.
The cast of “Knock at the Cabin” delivers some of their best performances to date. Known by some for his burly physique, Dave Bautista is quietly developing into one of the industry’s most reliable character actors. The former wrestling star transforms the role of Leonard - the ringleader of the mysterious stranger group – into a complex and reflective figure who continuously unveils intriguing layers of nuance. Abby Quinn, Nikki Amuka-Bird and Rupert Grint are compelling enigmas as the other trio of strangers. Meanwhile, Jonathan Groff and Ben Aldridge define a personable relationship as the romantic pair Andrew and Eric.
For all of “Knock’s” strengths, the film features a familiar Shyamalan pratfall - stumbling at the finish line. The third act, which takes a decidedly different path from the novel, becomes a clumsy experience as Shyamalan bluntly spells out his intentions to viewers. This oversimplistic choice limits some of the film’s intriguing meditations on ideology and its divisive, all-consuming powers, settling instead for a tidy Hollywood ending that mitigates some of Knock’s dramatic potential. There are still thoughtful moments where the writer/director wrestles with the fear embedded in discovering eye-opening realities that change the character’s preconceived philosophical notions. Shyamalan’s eye for genuine emotions also still shines through the cracks, although the film does not leave the same impact as some of his prior features.
Even a base single for Shyamalan is still a cinematic experience worth celebrating. “Knock at the Cabin” is an entrancing horror showcase that highlights the distinct talents of its writer/director.
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