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    Movie Review

    Daughter honors father by killing him repeatedly in Dick Johnson is Dead

    Alex Bentley
    Oct 1, 2020 | 3:59 pm
    Daughter honors father by killing him repeatedly in Dick Johnson is Dead
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    There have been many fictional and documentary films made about patients with dementia or Alzheimer’s disease, but you can count on one hand the number of them that make you laugh. To that tiny list you can now add Dick Johnson is Dead, a documentary that is a loving ode by a filmmaker to her ailing dad.

    Dick Johnson is a psychiatrist in Seattle who’s retiring due to increasing memory issues. His daughter, cinematographer/director Kirsten Johnson, has come to move him to New York to live with her so he can have better care. However, being the creative type, Kirsten refuses to just watch her dad deteriorate.

    Instead, she comes up with a series of macabre-but-funny situations showing Dick dying that she will film for posterity. Dick, being the affable and agreeable type, goes along with the ideas, which often include stunt men standing in for him as he, among other things, gets hit by falling air conditioner, trips down the stairs, or has his jugular punctured by a clumsy construction worker.

    The scenes are all in good fun and are clearly a way for Dick and Kirsten to connect in his waning years. Kirsten also comes up with some truly beautiful tableaus, including a wake for Dick while he’s still alive featuring his family and friends, and a fanciful sequence with dancers wearing oversized faces of Dick and his late wife, Katie Jo.

    All the while, we’re treated to the obviously loving relationship that Dick and Kirsten have. While Kirsten doesn’t shy away from the reality of what Dick is going through, neither does she wallow in the sadness of it. The various death scenes and the film as a whole are meant to be a celebration of the kind of man Dick is, and that purpose comes through in every frame.

    The film is not polished in the slightest, as Kirsten keeps in moments where the camera is out of focus or even pointed at odd angles. But the whole point is for the audience to see and hear the truth of Dick’s condition and their relationship, and those honest moments are what make the film what it is.

    Every good parent deserves to be celebrated the way that Kirsten honors her dad in Dick Johnson is Dead. His condition may be sad, but the film gives many more opportunities to smile and appreciate him than it does making you cry.

    ---

    Dick Johnson is Dead will stream exclusively on Netflix starting October 2.

    Dick Johnson in Dick Johnson is Dead.

    Dick Johnson in Dick Johnson is dead
    Photo courtesy of Netflix
    Dick Johnson in Dick Johnson is Dead.
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    Movie Review

    Melodramatic movie Maddie's Secret digs into modern foodie culture

    Alex Bentley
    Jul 2, 2026 | 11:30 am
    John Early in Maddie's Secret
    Photo courtesy of Magnolia Pictures
    John Early in Maddie's Secret.

    Comedian John Early is one of those “that guy” actors, having appeared in shows and movies like Broad City, Neighbors 2, Portlandia, Late Night, and Search Party without ever being the lead. So he’s taken it upon himself to give himself bigger exposure by writing, directing, and starring in the new film, Maddie’s Secret.

    Early plays the titular female character who works as a dishwasher with her best friend Deena (Kate Berlant) at a food video content company called GourMaybe. When a homemade cooking video shot by her boyfriend Jake (Eric Cahill) goes viral, Maddie gets bumped up to on-camera talent, soon becoming the face of the company, much to the chagrin of rival Emily (Claudia O’Doherty).

    With that added exposure comes more scrutiny in the form of online comments, many of which point out Maddie’s fuller figure and clear enjoyment of the food she makes. This criticism triggers Maddie’s bulimia, a condition she thought she had under control. Not wanting to lose her coveted spot, Maddie tries to keep her bulimia from everyone around her, something that becomes increasingly difficult to do.

    If that sounds like an ABC afternoon special, that’s because that’s the vibe it seems like Early is going for. The film feels like a melodrama, with many of the actors speaking in unnatural cadences to make situations seem more intense than they actually are. That gives the film a natural comedic tilt, although Early makes sure to have everyone play their scenes straight, letting the ridiculousness of the story speak for itself.

    Early playing a woman is oddly not part of the joke. According to him, the performance is not him doing drag, and he never plays the role in an over-the-top manner or like he’s making fun of the character. In fact, it’s striking how earnestly he inhabits Maddie, as if he truly was trying to get into the skin of a woman who found herself in such a situation. Anything funny that comes from him is just part of the progression of the story.

    Setting the film in the world of food vlogging is the one area where Early seems to actively be going for jokes. Maddie and Emily come up with creations that seem reasonable and off-the-wall at the same time, like a Rotel dip made with French techniques. Characters also frequent real L.A. restaurants with punny names like Naughty Pie Nature, making fun of the food scene as much as they are exalting it.

    Early definitely holds the viewer’s gaze in his first lead role, allowing Maddie to become a fully-realized character. His scenes with Berlant and Cahill make the film, as each of the supporting actors commit to their roles and elevate Early’s writing. Other standouts include Connor O’Malley as the boss at GourMaybe, Kirsten Johnston as Maddie’s mom, and Vanessa Bayer in a late-film cameo.

    Because Early is not trying to make a full-on comedy, many may come away perplexed by Maddie’s Secret. But the film is clearly made with intention, giving a slight send-up of both 21st century food culture and a loving homage to the cheesy TV movies of the past.

    ---

    Maddie's Secret opens in select theaters on July 3.

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