'Thelma' manages to hang in there
Magnolia
To an extent, “Thelma” is a feature-length version of the “Seinfeld” bit when George tries to outrun older folks who need slow-moving motorized vehicles to help them get around. From another angle, it’s a new spin on “The Beekeeper” if Jason Statham was replaced by a woman in her 90s.
Most generously, perhaps, the generally breezy effort from writer-director Josh Margolin inverts the usual action movie — where it seems the hero can both do and endure absolutely anything — for a tale of fighting back in which we root for someone who might not survive a single fall or even the slightest injury whatsoever.
But what Thelma (June Squibb) lacks in speed or strength she certainly makes up for in resilience and determination, disappearing on her grandson (Fred Hechinger), daughter (Parker Posey) and son-in-law (Clark Gregg) to track down the scammer (Malcolm McDowell) who conned her out of $10,000 over the phone. With her pal Ben (Richard Roundtree) aboard his motorized chair (conveniently with room for two), who needs Statham when you can have nearly two centuries worth of stubbornness combining in the name of justice?
Margolin wants “Thelma” to be taken as both a goof and a lightly serious exploration of senior citizens who don’t want to be told what they can or can’t do. Thelma is proud of all that she still does on her own, and falling victim to the fraud, and the resulting skeptical conversation she overhears among her family members, challenges her perception of her current place in the world, still living independently while her few friends left alive often don’t. Squibb is terrific, never overplaying but also bringing just the right sweet ferocity, committing to her mission while being so innocent and disarming every time she thinks she sees someone she knows and then, after talking for a minute, realizing she was wrong. (A great exchange here. Ben: “So how do you two know each other?” Thelma: “I guess we don’t.”)
Oddly the filmmaker hints at a more elaborate operation driving the story but then keeps things simple and underwhelming (think “Punch-Drunk Love” without any menace), preferring cutesy ease and warmth to anything more layered. Which is OK — “Thelma” is a rare chance for actors of this demographic to break out of the usual characterizations and have a little fun while showing what they can do. Good for them. For us: A nice diversion, and then on with your day.
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