THELMA (2024) review
written by: Josh Margolin
produced by: Zoë Worth, Chris Kaye, Nicholas Weinstock, Benjamin Simpson, Karl Spoerri & Viviana Vezzani
directed by: Josh Margolin
rated: PG-13 (for strong language)
runtime: 98 min.
U.S. release date: June 21, 2024
It’s long been thought that action flicks and senior citizens could (should) never go hand-in-hand. Well, that’s a load of poppycock! Just look at all the action-adventure movies within the past decade starring actors over 50, the eligible age for AARP membership. But, a lot of those actors are either known for such physically demanding roles or are men. Unfortunately, we rarely see any actresses offered such roles once they reach a certain age, which is why seeing 94-year-old June Squib get behind the wheel of a scooter and wield a handgun is surprising and fun. Granted, the thoroughly entertaining “Thelma” isn’t an all-out action flick, but considering what first-time writer/director Josh Margolin is asking of the nonagenarian, it definitely feels like one.
Thelma Post (Squib) lives on her own in Los Angeles and has gotten to the point where most of her friends are either dead or living in assisted living facilities. She is still healthy and maintains her daily routines – involving needlepoint, medication, and television news – but the highlights involve staying in touch with her 24-year-old grandson, Daniel (Fred Hechinger), by either talking on the phone or his in-person visits. He often guides her through navigating her emails and helps her deliberate what to do with pop-up ads. Note: The X isn’t always in the top right. It could be somewhere else, but it’s there. It’s too bad Daniel didn’t warn his grandmother not to answer the phone when you don’t recognize the number.
One day, Thelma receives a phone call from someone claiming to be Daniel, stating he’s been arrested after a motor vehicle incident and needs $10,000. Although the guy on the phone sounds a little funny to her (he says it’s because his nose was broken in the accident), a panicked Thelma goes along with it, takes down the address, and mails $10,000 cash. When she gets a call from Daniel, she realizes she’s been duped, she decides to take matters into her own hands, which means going around her daughter Gail (Parker Posey), and son-in-law Alan (Clark Gregg). Her stubborn determination leads her to the senior home where her friend Ben (the late Richard Roundtree, in his final role) resides, hoping to borrow his scooter. This results in Ben going missing from the senior home as he accompanies Thelma across the city with the single-minded goal of finding a specific P.O. Box and reclaiming the stolen money.
“Thelma” establishes an understandable combination of confusion and desperation as soon as that phone call ends. It sets the plot in motion, but Margolin, who edited the movie himself, effectively matches the cuts to the anxiety of the situation. After the phone call with the scammer, Thelma immediately calls Gail to tell her about Daniel’s alleged accident. This puts Gail in a frenzy (something that Parker Posey is so good at), especially since Daniel isn’t answering his phone, so naturally, she believes her mother. On the other hand, Alan is hesitant to get on board with the urgency of the situation without knowing more information.
Margolin combines comedy and familial anxiety in a fun and convincing manner, always staying concerned with the status of the titular character and the heart of the film, which is her relationship with her grandson. There’s enough material for Hechinger’s Daniel to wrestle with his twentysomething self-esteem issues while blaming himself for Thelma’s disappearance. While concerned about his grandmother’s whereabouts, he goes through some quick adulting and even attempts reconciliation with his ex-girlfriend, Allie (Coral Peña). After all, not getting his act together was one of the reasons for their breakup.
The material Margolin provides Squibb to work with is conscious of the psychology of someone Thelma’s age. Like many of her peers, she is often confused by technology, and the shame of getting taken advantage of gets tangled with her fears. Margolin knows that as silly as the movie can be at times, it still has to be grounded in a possible reality, and he has the splendid Squibb to assist him with that. Squibb comfortably fits into the grandmotherly role, often injecting quirky nuances that establish her personality. It’s a delight to see her convey such relatable elderly perspectives, and her chemistry with the always charming Roundtree is a hoot. Their friendship is tested during their unexpected adventure, and the two actors are given some real-life, age-appropriate issues to argue over.
There’s a miraculous, almost unbelievable aspect to the third act of “Thelma” when Thelma and Ben are able to track down her scammer. It seems completely unlikely that the culprit would actually be conducting criminal activity from the same city, but then again, the whole movie has an unlikely unbelievability to it, and that adds to its charm. It’s great to see Malcolm McDowell as Harvey, the supposed mastermind behind the illegal scheme. He’s worked out of an antique shop located in a dilapidated neighborhood. The shop has seen better days, and Harvey runs this scam business on the side, with help from his twentysomething underling, Michael (Aidan Fiske). He has no idea what to expect when Thelma confronts him, and her entrance into his antique shop is one of a handful of hilarious nods to the “Mission: Impossible” franchise (involving Thelma and Ben using their hearing aid technology) that Margolin includes.
Margolin’s timing throughout “Thelma” is excellent, thanks to sharp editing, which he does himself. To achieve something this authentic, charming, and ridiculous is quite an accomplishment. The filmmaker clearly draws from his own endearing relationship with his grandmother, which can be seen in a video clip played during the end credits. Overall, the movie is a wildly entertaining ride that offers some real insight.
RATING: ***1/2
