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Review: ‘The Fabulous Four’ once again tests the bonds of frenemies in a tropical locale

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Review: 'The Fabulous Four' once again tests the bonds of frenemies in a tropical locale

As a dedicated cinephile with decades of film-watching under my belt, I’ve seen my fair share of films featuring older actresses embarking on vacations and rediscovering themselves. But “The Fabulous Four” feels like deja vu taken to the extreme. I can’t help but feel that I’ve reviewed this movie before – maybe even twice or thrice.

I’ve seen “The Fabulous Four” before, more than once, in fact. It’s been a while though, maybe even two months or a year ago. In this movie, a group of four female friends, all in their golden years and portrayed by renowned and acclaimed actors, embark on a vacation together. During their trip, the deep-rooted bonds and habits among them will be put to the test, leading to profound personal development for each character. Does that ring a bell?

While revisiting “Summer Camp” in May, I found myself pondering the widespread production of these seemingly ubiquitous films (starring four actresses of advanced age and featuring a vacation setting). The idea likely brings significant profits, but the formula feels more like a carbon copy than an original creation. How do they continue to produce such repetitive content?

“The Fabulous Four” is shocking due to the absence of Diane Keaton. In her place, Susan Sarandon takes on the role of Lou, a rigidly professional surgeon with an affinity for pantsuits. Deceived by their long-time friends, Alice (Megan Mullally) and Kitty (Sheryl Lee Ralph), Lou is reluctantly coaxed into joining them. Their intent: healing a decades-old feud between Lou and Marilyn (Bette Midler). Once inseparable buddies, their friendship was shattered when Marilyn married Lou’s former boyfriend, John, who was previously engaged to her. As one might expect, their relationship has been strained ever since.

Marilyn, a widow now, plans to wed her new boyfriend in Key West. Friends Alice and Kitty invite Lou to the Florida island under the guise of six-toed Hemingway cats, only to reveal later that the trip is actually for Marilyn’s wedding. Let the ensuing confusion, accidents, and male strippers unfold.

As a cinephile, I’ve seen my fair share of movies, and let me tell you, there are some that leave a lot to be desired. You know the type – they have moments of raw emotion and betrayal that could make for a truly poignant tale, but instead, they get bogged down in distractions. Take, for instance, those trippy shroom scenes or parasailing mishaps that seem to pop up out of nowhere. And don’t even get me started on the TikTok interludes! They clutter up the narrative and distract from the heart-wrenching moments between characters.

A set of rowdier, intoxicated companions, who are younger, cling to the women during the flight. They serve as the unruly and drunken contrast to the uptight Lou (a woman with a tightly wound personality who refuses to take off her bulky cross-body bag, not even for the final dance). However, they turn out to be the only morally conscious individuals in the entire movie. They are appalled by Marilyn’s tale of stealing Lou’s boyfriend – as is fitting, yet none of Lou’s friends react similarly. The term “The Fabulous Four” doesn’t clarify why Lou and Marilyn should reconcile their friendship; it only mentions that they once were friends. Sometimes friendships remain in the past for a reason.

Ralph consistently provides stability amidst complicated family issues involving his deeply religious daughter and openly gay grandson. Mullally portrays Alice as a carefree, marijuana-loving character who flirts with every attractive waiter and draws them into hidden rendezvous. Midler embraces the quirks of her unsavory role. Greenwood and Murphy make their appearances as suitable romantic interests for the older characters.

Director Jocelyn Moorhouse, known for “The Dressmaker,” follows a standard visual approach in this production, similar to other films in its genre: plain, vibrant, and full of color. In place of Key West, Savannah, Georgia, serves as the backdrop, although the island itself is mostly depicted through brief footage. Consequently, the movie fails to fully convey the unique character of the location.

An intriguing take on this film’s conflict exists, featuring unexpected plot developments and Sarandon’s captivating portrayal. However, it’s disheartening that the production frequently veers away from authenticity instead. Despite the allure of the formidable quartet, the movie strays dangerously close to clichéd territory and falls short of brilliance.

Walsh is a Tribune News Service film critic.

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2024-07-27 05:21

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