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Movie Review

Lovable movie Thelma shows perils of old people using technology

Alex Bentley
Jun 21, 2024 | 12:39 pm
Richard Roundtree and June Squibb in Thelma
Richard Roundtree and June Squibb in Thelma.
Photo courtesy of Magnolia Pictures

Anyone with older parents or grandparents in the 21st century has almost certainly gone through the frustrating experience of trying to teach or explain new technology to them. The technological divide is real, and only seems to get worse with each passing year. The new film Thelma hilariously takes on that scenario with a story that’s alternately sweet and exciting.

As the film begins, the 93-year-old Thelma (June Squibb) is having her grandson Danny (Fred Hechinger) help her scroll through her e-mail box to find a video of her late husband. Although Thelma is still with it mentally, the challenges of technology are a bit beyond her skillset. This becomes even more apparent when a person purporting to be Danny calls and tells her he’s in jail, and needs $10,000 to get out. She immediately sends the cash, only to soon discover that she’s been scammed.

With the police unable to help her in any real way, and her family – Danny, daughter Gail (Parker Posey), and son-in-law Alan (Clark Gregg) – concerned more with her cognitive ability than her money, Thelma ropes in her friend Ben (Richard Roundtree) and his motorized scooter to track down the scammers on the other side of town. The ensuing pursuit is simultaneously the slowest one ever recorded on film and relatively thrilling.

Writer/director Josh Margolin, who was inspired to make the film by his own grandmother (stay for the credits for a sweet scene of the real Thelma), has a deft touch with the slight-yet-fulfilling story. Plenty of fun is made of Thelma’s physical limitations and her difficulty grasping knowledge about computers, but it’s done in a respectful way that never mocks her for what she can’t do. The humor comes from not just her technological issues, but also Danny patiently guiding her through increasingly fraught scenarios.

The character of Thelma is set up as one who’s almost impossible not to like, starting with the delightful bond she shares with Danny. She’s very strong-willed, something that Gail, Alan, and Ben see up close, but she’s also so charming that none of them can stay mad at her for long. One of the film’s funniest throughlines is her asking multiple people if she knows them, a sign of an aging mind that turns into a crucial plot point in the final act.

What’s especially remarkable is that Margolin manages to maintain a light mood even through the film’s heavier moments. Thelma and Ben stop at the house of their friend Mona (Bunny Levine), who lives alone despite clearly being in the depths of dementia. Margolin somehow plays the scene both for laughs and heartbreak, a threading of the needle he does on multiple occasions to keep the story humming.

The 95-year-old Squibb, who’s experienced one of the busiest times in her career after being nominated for an Oscar for 2013’s Nebraska, is a joy to watch in every frame of the film she occupies. She’s the epitome of the kindly grandmother, but the spirit she displays makes her determined character highly believable. The presence of Posey, Gregg, and Hechinger elevates the relatively small number of scenes they’re in, and Roundtree is showcased in a great way in what would turn out to be his final film role.

There have been a number of movies pairing old actors and trying to mine their ages for laughs in recent years, but none of them have the wit and charm that Thelma does. Margolin turned his love for his grandmother into a film that honors her, and also gives Squibb, Roundtree, and others the opportunity to show that age is just a number when it comes to their ability to entertain the masses.

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Thelma is now playing in theaters.

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Movie Review

A collision of humor and dark history make an impact in Wild Horse Nine

Alex Bentley
Nov 5, 2026 | 10:58 am
Sam Rockwell and John Malkovich in Wild Horse Nine
Photo courtesy of Searchlight Pictures
Sam Rockwell and John Malkovich in Wild Horse Nine.

It’s difficult to nail English writer/director Martin McDonagh down when it comes to his interests. Prior to his new film, he has set films in Bruges, Belgium; Los Angeles; the fictional small town of Ebbing, Missouri, and a remote island in Ireland, with stories that deal with crime, grief, lifelong friendships, and a kidnapped Shih Tzu. What all his films have in common though, is comedy that is mined through absurdity, something that is on full display in Wild Horse Nine.

Chris (John Malkovich) and Lee (Sam Rockwell) are CIA agents in 1973, currently stationed in Chile, with a mission that Lee tries to hide but Chris broadcasts willingly. Their assignment is to undermine support for the newly-elected socialist president, Salvador Allende, but the film is not really about that. Instead, it follows the duo on a break from work as they decide to take a side trip to Rapa Nui (aka Easter Island) so that Chris can fulfill his dream of seeing “the big heads.”

Once they’re there, Chris and Lee bicker over various things, including Chris being too open with two younger women, Monica (Mariana di Girolamo) and Alicia (Ailín Salas); who gets control over their rental car; the long-distance interference of CIA station chief MJ (Steve Buscemi); and more. All the while, a mostly unspoken agreement between Chris and Lee colors every decision they make, including why they came to Rapa Nui in the first place.

McDonagh has full control over the narrative of the film from minute one, establishing the tone through the super-quick banter between Chris and Lee that points to the strong bond the two share. A later revelation deepens the meaning of the story without taking away from the humor that comes from Chris and Lee sniping at each other. Despite the two characters not getting much of an introduction, they become a very memorable movie twosome as the film goes along.

A good working knowledge of 20th century world history is helpful, as McDonagh drops in subtle and not-so-subtle hints about the CIA’s involvement in certain notable events (including the JFK assassination, which takes on larger importance as the story goes on). Using real history like the impending coup d'état in Chile as a backdrop for the fictional story grounds the film, allowing the characters to engage in sometimes farcical elements without ever seeming like unserious people. It’s also a sly commentary on current events, with the U.S. continuing to insert itself into other countries’ affairs.

The impact of the film is immeasurably improved by the fact that they filmed on location in Chile and Rapa Nui. Having Chris and Lee visit the “big heads” (aka moai) while referencing them in their dialogue is both awe-inspiring and hilarious. There’s just something about the characters being able to get up close and personal with the ancient sculptures that makes the film feel more important than if they had employed CGI to put them there.

Malkovich is a two-time Oscar nominee with a storied career, but this performance ranks as one his best. With a face that unashamedly shows his 73 years and pitch perfect line deliveries, he nails every scene that he’s in. Rockwell complements him extremely well, giving a performance that fits in with his previous work but rarely on such a high level. Buscemi is also a pleasure to watch, popping up to steal small moments just like he did in the recent The Only Living Pickpocket in New York.

Save for a few action scenes, Wild Horse Nine is mostly filled with characters talking, but the level of the conversations and the comical moments that McDonagh has created contain cannot be understated. With a tour-de-force performance by Malkovich, a real world setting, and a funny twist on history, it’s one of the best movies of the year.

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Wild Horse Nine opens in theaters on November 6.

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