An unlikely action hero can be a lot of fun. There might not be a more unlikely one in 2024 than June Squibb, but that’s just what she is in Thelma, a tale of a grandmother taking back what’s hers. An action-comedy hybrid that gives a senior citizen her very own revenge tale? Yep, it’s as good as it sounds, too. The film is a low level blast.

Thelma shows not just that a bit of cleverness can go a long way, but also that we should never put performers into a box due to their age. You wouldn’t expect a star vehicle for Squibb in her 90s to begin with, but a mix of action and comedy that explicitly references the Mission: Impossible franchise? It sounds like a dream, but once you see it, you’ll know that this movie is just a dream come true.

Thelma Post (Squibb) lives a fairly simple life ever since she lost her husband. Her grandson Daniel (Fred Hechinger) comes by a lot to help her with the computer, hang out, and just be a good egg. She doesn’t hear too well anymore and occasionally gets confused, but for a 93 year old, she’s doing just fine. One day, after Daniel heads home, she gets a call from someone pretending to be him, scamming her into thinking he’s been in an accident. Suspicious initially but too worried about him to really consider things, she sends off some money, scaring her daughter Gail (Parker Posey) and her husband Alan (Clark Gregg) in the process. When they all figure out that she’s been taken for a ride, they start to think if she needs to be put into a home. Embarrassed, Thelma has other plans.

While Alan and Gail are hounding Daniel about his life choices, Thelma takes the opportunity to begin an investigation. Stealing a ride from her friend Ben (Richard Roundtree), he eventually joins her on this mission. As they navigate the clues and begin to bond again, they actually manage to sniff out a lead or two. I won’t say what ends up happening, but it’s deeply satisfying, to say the least, and even touching.

June Squibb gets the role of a lifetime at 93 and runs with it. Getting to play age appropriate, she’s funny, sad, and always captivating. The late Richard Roundtree is just as good, with the two of them having impeccable chemistry. She’s relishing this opportunity, while he is having so much fun. It’s a pleasure to watch them in action, even if she’s in it more than he is. Clark Gregg, Fred Hechinger, and Parker Posey are less memorable, though Hechinger does get some nice moments with Squibb. Supporting players include Nicole Byer, Aidan Fiske, Malcolm McDowell, Ruben Rabasa, and more, but Squibb is the star.

Writer/director Josh Margolin puts such a lovely little spin on the genre here, clearly wanting to honor his grandmother, but also just wanting to tell a good story. It’s a revenge tale on par with any of late, but the action and comedy are all done in such a way befitting characters closer to the century mark than any other potential action heroes. Things run a bit long and there isn’t a ton of style on display, but Margolin has the goods with Thelma when it comes to fun. Entertainment value? That’s through the roof here.

Thelma is a delight. The premise certainly sounds appealing, with the execution landing in a big way. This is a genuine crowd-pleaser of the first order. As far as summer counter-programming goes, this is the kind of flick that deserves to be a hit. Don’t miss this one!

SCORE: ★★★

Related

Fancy Dance, 2024.

Directed by Erica Tremblay.
Starring Lily Gladstone, Isabel Deroy-Olson, Ryan Begay, Shea Whigham, Audrey Wasilewski, Crystle Lightning, Tamara Podemski, Patrice Fisher, Ryan RedCorn, Lillian Faye Thomas, Casey Camp-Horinek, Tyler Tipton, Dennis Newman, Trey Munden, Arianne Martin, Blayne Allen, Michael Rowe, Hauli Gray, Blake Blair, Kylie Dirtseller, and Cory Hart.

SYNOPSIS:

Following her sister’s disappearance, a Native American hustler kidnaps her niece from the child’s white grandparents and sets out for the state powwow in hopes of keeping what is left of their family intact.

Infuriatingly, displacement is common among minorities, especially natives. Co-writer/director Erica Tremblay’s Fancy Dance tells such a tale, highlighting the distinction between the effort, or lack thereof, child protective services, local authorities, and even FBI agents funnel into cases under certain circumstances. If it involves white relatives, authorities will feel more pressed to investigate and likely be more prominent in the outcome.

This is also a complicated story, so that’s not to absolve Lily Gladstone’s Seneca-Cayuga nation clan member Jax, who does sneak her 13-year-old niece Roki (Isabel Deroy-Olson) away from the white grandparents Frank and Nancy (Shea Whigham and Audrey Wasilewski) she has been forced under the guardianship of following yet another disappearance from her troubled mother (longer than usual and still missing) and the powers that be believing a slight criminal record has made the aunt unfit to take over those responsibilities. Considering Jax has normalized stealing and theft to Roki and does have a history of selling drugs, there is a small amount of concern, but nothing that should kickstart uprooting someone away from their people, home, and culture.

The inquisitive, good-natured Roki is also excited for the annual powwow not just for the traditional symbolic dancing but also because she believes that, regardless of where her mom is now, she will be there, and they will be reunited during a ceremonial dance. What exactly the relationship is like between daughter and mother feels underexplored and isn’t exactly spoken about, but it’s also apparent that there is a darker truth, with Jax urging her local reservation cup brother JJ (Ryan Begay) to convince authorities with the more pull that the situation this serious this time, or to break some ground in the case himself.

Working together with screenwriter Miciana Alise, Erica Tremblay also portrays the white grandparents, particularly Nancy, as more misguided than outright villainous, which goes a long way in further grounding the narrative. They don’t understand how important the powwow is to Roki (who has already been practicing her moves and has a cute jacket picked out as part of her outfit), claiming they must get her settled into this suburban home hours away from the reservation. Frank also seems to incorrectly assume that it would be wise to keep Roki away from that “mess,” referring to nearby drug dealers, prostitution, and the alarming amount of missing person cases that could be related to some shady surrounding white men. Meanwhile, Nancy cluelessly believes ballet lessons will replace something deeply entrenched in Roki’s identity and sense of self.

This is important to note since, when Jax essentially kidnaps Roki to figure things out (she is along for the ride since they will be going to the powwow), it’s even easier to be on her side and to feel that instant frustration when all types of authorities instantly jump to assist the white grandfather. And even if Jax is not necessarily the most positive influence in some areas, there are also tender moments among the thieving and squatting in rich people’s homes, such as managing Roki through her first period. In many respects, Jax feels like a friend to Roki, who hasn’t yet embraced the fact that it’s time to be a second mom.

The chemistry between Lily Gladstone and Isabel Deroy-Olson is airtight and sweetly expresses a mimicry bond but convincingly conveys their trust-breaking, as the latter becomes wiser to the former not telling the full truth about her missing mother. Their wonderful performances continuously overcome the shakier, more overblown story beats (such as something involving a firearm). Furthermore, Lily Gladstone is tremendous, maneuvering between steely toughness, desperation, and vulnerability. Between avoiding authorities on this road trip, piecing together clues about her sister’s disappearance, and pestering her brother JJ to investigate some of those revelations, it brings out a nuanced, emotionally layered performance.

Even if Fancy Dance falls into some melodramatic trappings elsewhere, the resolution of the mystery aspect is realistically bleak. It makes the case for not just an unfortunate element of reservation life but also what continues to happen because it’s seemingly unimportant to local authorities. It’s not all gloom, though, as the final moving scene is earned, fits the characters’ journey, and celebrates the culture.

Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★ ★

Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com

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