A scene from ‘Thelma’

Review: ‘Thelma’ is a mature twist on a classic story

‘Thelma’ is an understated thriller that follows an elderly woman’s search for the fraudsters who stole her money.

The Nigerian Prince scam is a phishing attack in which swindlers reach out to potential victims and promise a large sum of money in exchange for help in the form of a cash advance or personal information. It’s been around for so long, it’s now somewhat of a joke. But these cons are becoming far more sophisticated, using technology to find vulnerable targets and/or access their personal information without leaving a trace. The elderly are frequent marks for a variety of fraud, but in Thelma, a senior cheated out of a large sum of money sets out to get it back.

Thelma (June Squibb) is a widower determined to retain her independence by living alone in her home as long as possible. Her loving and jobless twentysomething grandson, Daniel (Fred Hechinger), visits often to spend time with her and drive her on errands. So, when she receives a call that he’s in trouble and in need of cash immediately, she doesn’t hesitate. When it’s discovered Daniel is safe and sound, his parents (Parker Posey Clark Gregg) become involved, reporting the crime to the police, though they don’t offer much help. Instead, Thelma teams up with an old friend named Ben (Richard Roundtree) to track down the culprits and demand they return her money — or risk being deemed incompetent and moved to a nursing home.

It’s difficult to believe that at 94 years old with more than 100 actress credits on IMDB and an Academy Award nomination, this is Squibb’s first leading role in a feature film. She’s a wonderful actress that people will recognize from countless movies and TV series, but she proves more than capable of carrying an entire film. Thelma is witty, resolute and mobile — Squibb even quips about performing her own stunts in the film, from cruising on a scooter to rolling over a mattress and even walking away from an explosion. Her agility is quite impressive, but no more so than her heartfelt, humorous performance.

Aging is something no one can escape and with it comes some unfortunate realities, such as outliving loved ones, losing one’s abilities to do any number of things, and/or diminishing memory and other cognitive functions. All of these shortfalls are addressed in the picture via the main and supporting characters, yet they’re not dwelled on nor do their negative impacts overwhelm the narrative, which is really a late-in-life quest story. Much like kids who go on an adventure far from home, Thelma and Ben evade her family to embark on a mission to confront the crooks that defrauded her — an endeavour most people of any age wouldn’t even dare to consider. And with the recent release of The Beekeeper, it’s also a unique take on the vengeance narrative.

This entertaining, comedic drama may not have reached such prominence without Squibb’s amazing breakthrough, but it earns all its praise legitimately via great performances and an engaging storyline.

Director: Josh Margolin
Starring: June Squibb, Fred Hechinger and Richard Roundtree

Similar Posts

  • Review: ‘Sisters’ not only seducing cops with their charm (Includes first-hand account)

    It’s at a snail’s pace, but things in Hollywood are gradually shifting in favour of female performers, characters and creators. Women directors are taking the helm and movies with all-female leads are appearing on the marquee more often. Statistics show films with these attributes perform well at the box office so hopefully studio-thinking will catch up with feminism sooner rather than later and start giving these projects the green light. In the meantime, it’s up to a select few to lead the charge. Tina Fey and Amy Poehler‘s Sisters is one of these pictures.

  • Review: ‘Live by Night’ could have benefitted from greater focus (Includes first-hand account)

    The gangster movie has always been a staple of cinema, from the 1930s black-and-white Little Caesar and The Public Enemy to The Godfather, Scarface (remake) and Goodfellas. Audiences are fascinated by the career criminal and his rise to be king of the mountain… before he’s inevitably knocked down by another ambitious crook. The façade that they are simply businessmen that handle more “delicate” merchandise and take a keen interest in managing the competition has always been one of the more intriguing aspects of their personalities — the ability to compartmentalize, rationalize and, when all else fails, deny. Live by Night is slightly more complex as its protagonist has always had higher, more sensitive aspirations.

  • Review: TIFF 2018: ‘Firecrackers’ delivers a feisty, genuine experience (Includes first-hand account)

    Being a teenage girl often feels like a trial, but it’s one that seems to be getting more difficult… or at least more people are now acknowledging the problems unique to being a young woman in a patriarchal society. Social media and technology have certainly been game changers as immediacy has grown paramount, judgements are delivered more freely and typical adolescent mistakes have gained a permanency that has long-term consequences. In Firecrackers, two young women are desperate to escape the oppression they feel in their small town, but even the best laid plans can be upended.

  • Review: ‘The Grinch’ appreciates and builds up from its roots (Includes first-hand account)

    It seems like one of the simplest ways to capitalize on the holidays is recycle/reimagine a classic tale for a contemporary audience. Granted, many of the most beloved Christmas cartoons are more than half-a-century old — but their age doesn’t make them any less endearing or enjoyable. Nonetheless, there is an unexplainable and explicit need to remake these specials using modern techniques and padded storylines. The latest to get this treatment (for the second time) is Dr. Seuss’ own green grouch, who despises merry occasions and happy people. The Grinch is now a feature-length animation with some extra plot.

  • Review: ‘Playing God’ is a tough job at Hot Docs (Includes first-hand account)

    Most people know, understand and have maybe even experienced the direct consequences of tragedy, particularly death. However, when it’s linked to a larger event such as an attack or accident, the complexity of the aftermath increases. One’s personal journey becomes a public event with strangers inquiring about the intimate details of your lives to satisfy their curiosity… or to assess the measurable damages caused by the incident. But how does one decide the worth of a human life? And who has the daunting task of making that decision? In the documentary Playing God, audiences meet a man whose occupation is simultaneously revered and hated.

  • Review: ‘Bohemian Rhapsody’ is all cheers, no tears (Includes first-hand account)

    Origin stories are so powerful — and not just for superheroes. Seeing where and how someone or something began in some ways removes a bit of the mystique; but it can also earn them respect, admiration and gratitude. People are naturally curious, particularly about things they feel close to, so they are keen to consume information and media related to the object at the centre of their fandom. In some ways, it bridges the gap and strengthens their connection to something that will always be out of reach. The aptly titled, Bohemian Rhapsody, is another way into the world of Queen.