‘Saturday Night’ Comedy a Half-Baked Trip Down Memory Lane

‘Saturday Night’ Comedy a Half-Baked Trip Down Memory Lane

By Alex McPherson

Frenetic, scattershot, and thoroughly self-absorbed, director Jason Reitman’s “Saturday Night” might satisfy those nostalgic for the early days of “SNL,” but fails to make a name for itself on its own merits.

Presenting itself as a fictionalized version of the stressful 90 minutes leading up to the original “Saturday Night Live” (originally called “Saturday Night”) broadcast in October 1975 at Studio 8H, Reitman’s film revolves around Lorne Michaels (Gabriel LaBelle), the show’s executive producer and ringleader. Michaels remains insistent on the show’s potential while having little idea as to what it actually is.

Co-creator Dick Ebersol (Cooper Hoffman) is increasingly worried about how things will pan out, trying to reason with the ever-resistant Michaels as the cramped, claustrophobic halls of Studio 8H buzz with both excitement and growing fears of potentially spectacular failure. There’s also a llama, for some reason.

All the while, a group of unruly, up-and-coming comedians — including the arrogant yet charismatic Chevy Chase (Cory Michael Smith), Dan Aykroyd (Dylan O’Brien), Garrett Morris (Lamorne Morris, no relation), John Belushi (Matt Wood), plus several talented women such as Gilda Radner (Ella Hunt), Laraine Newman (Emily Fairn), and Jane Curtin (Kim Matula) that the film mostly treats as afterthoughts — prepare to go on-air, confronting their own mini-crises and doubts as the clock ticks, ticks, ticks toward showtime, and the history books.

Tempers run hot (the pretentious Belushi and Chase butt heads, and Belushi hasn’t even signed his contract yet), people are stoned out of their minds, lights are falling on-stage, the sound system’s busted, head writer Michael O’Donoghue (Tommy Dewey) is spewing acerbic barbs at anyone and everyone questioning his scripts, and rival late-night host Milton Berle (J.K. Simmons, typically strong) is, quite literally, waving his dong around.

Gabrielle LaBelle, Kaia Gerber and Cory Michael Smith.

NBC executive Dave Tebet (Willem Dafoe) is observing the whole production from afar, egging on Lorne with smug anticipation of his passion project’s downfall, as the whole endeavor is a pawn in NBC’s contract dispute with Johnny Carson.

Suffice to say, the stakes are high, at least in the context of these characters, who don’t yet know that SNL will wildly succeed and become a cultural institution. Watching as a casual fan of the iconic program, though, “Saturday Night” is curiously devoid of surprise, or insight, or, even, laughs. There’s way too much smugness in Reitman’s retelling of this “revolution in comedy.” The film appeals to mainstream cinema’s obsession with callbacks at the expense of telling a story worth investing in.

Still, despite its emptiness, “Saturday Night” features dynamic performances from an ensemble doing an at-times-scarily convincing job at portraying their real-life counterparts. LaBelle brings a nervous, stubborn energy that’s simultaneously inspiring and pathetic, barely tamping down Michaels’ anxiety over his passion project’s success (or downfall, but we already know it’s going to be a success).

Hoffman is typically excellent as Ebersol, channeling his father’s capacity for emotional release during a pivotal scene in the latter half of the film.

Cory Michael Smith is an obvious standout as Chase, conveying the man’s arrogance and insecurity (and hilarity) in a way that demands attention, whether we like it or not. O’Brien makes a mark with his brief screen time as Aykroyd. Morris brings some much-needed pathos as his character questions his purpose and reason for being there as the only Black cast member. Wood does what he can with Belushi, with Reitman and co writer Gil Kenan highlighting his drug use and fickleness (mostly as a punchline) — making Belushi’s will-he-won’t-he arc both semi-poignant and weirdly uncomfortable, given Belushi’s later tragedy.

Gabriel LaBelle as Lorne Michaels.

The rest of the cast — including the ever-reliable Rachel Sennott as Michaels’ then-wife, Rosie Shuster, Jon Batiste in a small-yet-memorable appearance as Billy Preston, and seemingly a million other recognizable faces playing various recognizable faces, with Nicholas Braun doing double duty as punchline-ready interpretations of Andy Kaufman and Jim Henson — are perfectly adequate, but not exactly given much to sink their teeth into narratively with their limited screen time.

Indeed, “Saturday Night” ultimately reveals itself to be little more than a carnival ride of memories and irritating dialogue that — when it’s not replicating famous jokes and sketches — takes advantage of 20/20 hindsight to constantly pat itself on the back.

Reitman and co-writer Gil Kenan’s script takes an Aaron-Sorkin-esque approach in its witticisms, fast pace, and at-times blatant sentimentality as it literally clicks down the moments until showtime, incorporating as many famous gags as possible that loyal viewers are expected to get excited about. Some barbs and vignettes amid the chaos are amusing, and “Saturday Night” is never less than watchable, if usually superficial.

Cory Michael Smith as Chevy Chase.

Eric Steelberg’s textured, 16mm cinematography weaves throughout the studio’s sweaty interiors, faithfully recreated with attention to period detail in sets and costuming, making plentiful use of long takes and whip-pans.

The film careens from one easter egg to another — complete with its own pseudo laugh track of characters cracking up; the film desperately begs us to laugh along with them. Batiste’s percussion-laden score, combined with Nathan Orloff and Shane Reid’s editing, helps create a fittingly frantic, albeit artificial, sense of paranoia that highlights the film’s construction as an allegedly off-the-rails roller coaster that’s never truly allowed to chart its own path.

It’s fine: There’s just not much there beyond the film playing to viewers’ nostalgia. And maybe that’s acceptable for those who’d like to coast on the associated dopamine rush. Myself, however, not so much. “Saturday Night” is never bad (far from it), but it never ascends beyond average — a self-congratulatory tribute to the groundbreaking show in a puzzlingly vanilla framework.

“Saturday Night” is a 2024 comedy based on a true story, directed by Jason Reitman, and starring Gabriel LaBelle, Cooper Hoffman, Willem Dafoe, Corey Michael Smith, Lamorne Morris, Rachel Sennott, Matt Wood, Dylan O’Brien, Ella Hunt, Kim Matula, Emily Fairn, Nicholas Braun, Jon Batiste, Tommy Dewey and JK Simmons. It is rated R for language throughout, sexual references, some drug use and brief graphic nudity and the run time is 1 hour, 49 minutes. It opened in theaters Oct. 11. Alex’s Grade: C

Lively ‘Saturday Night’ Re-creates a TV Landmark’s First Broadcast with Outstanding Ensemble Cast

Lively ‘Saturday Night’ Re-creates a TV Landmark’s First Broadcast with Outstanding Ensemble Cast

By Lynn Venhaus

The unpredictable Not Ready for Prime Time Players would go on to become household names. A shaggy group of irreverent writers would ignite a counterculture revolution with their parodies of contemporary culture and sharp political satire. And a young and scrappy Canadian would lead the inspired chaos of a late-night live sketch comedy show into showbiz history when “Saturday Night” premiered on Oct. 11, 1975.

With “Saturday Night Live” about to celebrate 50 years on television, it’s the right time to revisit the show’s frenetic start in NBC’s Studio 8H in Rockefeller Plaza. Writer-director Jason Reitman’s dramatic comedy finds the beating heart in this runaway train ride depicted in the 90 minutes leading up to the inaugural broadcast.

Along with co-writer Gil Kenan, their “based on a true story” captures the frenetic pace and the backstage lunacy that forever changed late-night comedy. It was a “big bang” that redefined the television landscape, and while a mini-series could do the origin story justice, this focused narrative framework succeeds in pulling back the curtain.

In a kinetic snapshot of what happened that fateful wild and crazy night, Gabriel LaBelle anchors the best ensemble cast of the year as the confident producer Lorne Michaels.

LaBelle, who was impressive as young Steven Spielberg in “The Fabelmans” two years ago, plays the driven big dreamer who believes in his instincts and the largely unknown cast’s talents. He’s the calm circus ringleader in the eye of the storm amidst the gusty winds threatening to blow it all down.

Gabriel LaBelle, center, as Lorne Michaels

From the start, Michaels has produced all but five years of the show, leaving in 1980 when Jane Curtin, Garrett Morris, Laraine Newman and Gilda Radner were the last original cast members to depart, and returning for the 1985-86 season.

He started out as a comedy writer whose credits included “Rowan & Martin’s Laugh-In” and now oversees a vast empire of last-night television and feature films. Michaels’ first wife, Rosie Shuster, is portrayed by a sharp Rachel Sennott as an integral force, both as a writer and someone putting fires out.

As the clock counts down to the live launch, there isn’t time for in-depth character portrayals; instead, we get snippets of familiar personality traits from those emerging stars Dan Aykroyd (Dylan O’Brien), Gilda Radner (Ella Hunt), Laraine Newman (Emily Fairn), Jane Curtin (Kim Matula) and Garrett Morris (Lamorne Morris, no relation), with Chevy Chase (Cory Michael Smith) and John Belushi (Matt Wood)’s well-documented egos and clashes getting more screen time.

The seven actors quickly convey their quirks and foreshadow the stars they would become. Standouts here include O’Brien as a minutiae devotee and big flirt Aykroyd, Emmy-winning Morris as the underused Morris — a multi-hyphenate perplexed at his inclusion, and Smith as quick-witted, arrogant and self-absorbed Chase, the show’s first break-out movie star.

The women, understandably, are trying to find their place in the boys’ club, which is representative of those early years.

The nostalgia factor is big here for longtime fans of the show, especially those of us who watched the first episode in real time (My college roommates and I tuned in, presumably because we were big George Carlin fans, for we did not recognize the others, except for Billy Preston because he played with The Beatles). A film by Albert Brooks? Jim Henson and his Muppets?

Now, fans of the National Lampoon Radio Hour (1973 – 1974) were familiar with cast members Chevy, Belushi and Gilda. Its creator, Michael O’Donoghue, a jaded, cynical anarchist, went on to be SNL’s cutting-edge head writer for three years. His tussles with the network censors’ red pens must have been headache-inducing.

Reitman’s condensed depiction of legendary writers Al Franken, Tom Davis, Alan Zweibel, and Herb Sargent (Tracy Letts!) is noteworthy. While not all sketch development is accurate timeline-wise, the inclusion of Aykroyd’s Julia Child parody where she gushes blood from a cut artery during a taping of “The French Chef” is a good one to mention – and so is the construction workers’ gender reversal cat calls with Aykroyd as the objectified — even though both were on later shows.

Reitman’s reverence for all things SNL is admirable – and understandable, for it continues to be a force in the cultural zeitgeist. His father, Ivan, directed Aykroyd and Bill Murray in 1984’s biggest box-office hit “Ghostbusters” and other movies featuring alumni.

Jason Reitman’s previous comedies “Juno” and “Up in the Air” showed much potential, so it’s nice to see him navigate this incredible moment in time and do so with a clear-cut vision and savvy casting choices.

Fellow nepo baby (in a good way) Cooper Hoffman, Philip Seymour Hoffman’s son, is a perfect foil as ambitious Dick Ebersol, rocking the polyester suits as the late-night director of programming. (He’d later go on to produce SNL after Michaels’ left.)

Portraying the old guard is Willem Dafoe as humorless network vice president of talent relations Bob Tebet, who’d be happy to run another Johnny Carson “Tonight Show” re-run instead.

Nicholas Braun as Andy Kaufman

In small but essential roles, musical wunderkind Jon Batiste plays musical guest Billy Preston and Nicholas Braun (Emmy-nominated Cousin Greg on “Succession”) astutely characterizes up-and-coming Andy Kaufman’s brilliant schtick and as a naïve but talented puppeteer Jim Henson, clearly ahead of his time.

Matthew Rhys, Emmy winner for “The Americans,” is a snarling George Carlin who does not want to play nice with others in sketches.JK Simmons swoops in to steal his scenes as cantankerous old-guard comic Milton Berle, representing a different generational style.

Batiste also composed the propulsive original music score, which adds to the fast-paced freewheeling vibe. Reitman’s go-to cinematographer Eric Steelberg offers insight into the adrenaline rush while Jess Gonchor’s production design overstuffs Studio 8H plausibly.

An engaging whirlwind representing a collaborative creative process that sparked a comedic revolution, “Saturday Night” takes us back to an extraordinary leap of faith that resonates today. No need to give us a roadmap of the past half-century because we know the rest of its remarkable history.

Lamorne Morris as Garrett Morris.

Notes: To learn more, “Live from New York: The Complete, Uncensored History of Saturday Night Live as Told by Its Stars, Writers, and Guests,” first published in 2002, is a definitive oral history by James Andrew Miller and Tom Shales.

Two documentaries on the short, brilliant and troubled lives of two of the show’s biggest stars, “Belushi” (2020) and “Love, Gilda” (2018) are available to watch on subscription streaming services, and for digital rental.

“Saturday Night” is a 2024 comedy based on a true story, directed by Jason Reitman, and starring Gabriel LaBelle, Cooper Hoffman, Willem Dafoe, Cory Michael Smith, Lamorne Morris, Rachel Sennott, Matt Wood, Dylan O’Brien, Ella Hunt, Kim Matula, Emily Fairn, Nicholas Braun, Jon Batiste, Tommy Dewey and JK Simmons. It is rated R for language throughout, sexual references, some drug use and brief graphic nudity and the run time is 1 hour, 49 minutes. It opened in theaters Oct. 11. Lynn’s Grade: A-.

‘Ghostbusters Frozen Empire’ Coasts on Nostalgia But Never Ignites

‘Ghostbusters Frozen Empire’ Coasts on Nostalgia But Never Ignites

By Lynn Venhaus
A silly and confusing nostalgia-infused stew that suffers from ingredients well past their sell-by dates, “Ghostbusters: Frozen Empire” is an erratic mess of plot and pacing, with too many layers and too many characters.

Whatever goodwill people have for the original cast Bill Murray, as Dr. Peter Venkman, Dan Aykroyd as Ray Stantz and Ernie Hudson as Winston Zeddemore, quickly evaporates when co-screenwriters Gil Kenan and Jason Reitman poorly integrate their beloved characters into a storyline weighted down by paranormal mumbo-jumbo.

It’s unnecessarily more complicated than any thread in “Oppenheimer,” and all the levity is sucked out of it, which is sad for tarnishing the late Harold Ramis’ legacy as the nerdy Egon Spengler, the big-brain of the original outfit.

This latest installment takes up after “Ghostbusters: Afterlife“ in 2021 resurrected the franchise that began with a bang in 1984, which was followed up with a 1989 sequel, and then dormant until a 2016 all-female reboot, which has largely been ignored but had a terrific cast.

In “Ghostbusters: Frozen Empire,” the Spengler family returns to the iconic New York City firehouse to team up with the surviving Ghostbusters, who’ve developed a top-secret research lab to take busting ghosts to the next level.

But when an ancient artifact unleashes an army of ghosts that casts a death chill upon the city, the new and old team join forces to save the world from a second Ice Age. The gizmos are more high-tech — drones! — but that doesn’t improve lucidity.

Sure, Slimer is back, and William Atherton shows up as the despicably oily Walter Peck, only he’s now the mayor of New York City instead of an EPA inspector — but still would like to rid his town of the ghostbusting heroes. A tiny army of mischievous mini-Stay-Puft Marshmallow Men cause more mayhem than when first introduced in 2021.

But even those welcome sentimental sightings don’t add much to an inexplicably leaden Kenan-Reitman script that is directed with a heavy-hand by Kenan, following “Afterlife” director Jason Reitman, the son of original “Ghostbusters” director Ivan Reitman.

As charming as Paul Rudd is as Gary Grooberson, the beau of Callie Spengler (Carrie Coon, one of the great modern actresses, just going through ‘mom’ motions), he can’t carry this cash-grab on his own. Grown-up make-believe needs a reason to watch.

Callie is Egon’s daughter, and her two teenage children Trevor (Finn Wolfhard) and Phoebe (McKenna Grace) are back, this time as fierce ghostbusters now enthusiastically embracing the family business.

There is a strange subplot where Phoebe is attracted to a ghost named Melody (Emily Alyn Lind) that is just a bizarre detour in an already complex template.

The Spenglers have taken over the Firehouse as a home, which is fun to explore, but then the ghosts they capture in the Ecto-Containment Unit start acting up (go figure) because of an apocalyptic diety hellbent on igniting a deep freeze (but why?). Layers and layers of confusing backstory prevent the film from ever taking off, and engaging in a way audiences might expect.

The set-up is unusually long and meandering, and is weighted down by the ancient lore explanations that seems to be as thick as mud. You can only watch so many electronic sparks before it becomes mind-numbing.

There is little to connect the “Afterlife” dirt farmer in Summerville, Oklahoma storyline, but two of the characters return with a passing reference — a podcaster played by Logan Kim and Lucky played by Celeste O’Connor.

The very funny comic actor and stand-up comedian Patton Oswalt is wasted in one solo scene as a librarian with vast knowledge of the spirits underworld, and ever-reliable Kumail Nanjiani offers goofy support as the slacker grandson of a deceased woman who held a lot of ancient (and kinky) secrets in their modest apartment.

While Aykroyd and Hudson are game as the more prominent returning heroes, Murray shows up rather late, with little to do, and coasts, devoid of the goofy charm that made Venkman so appealing. While Annie Potts is another welcome sight as former receptionist Janine Melznitz, it’s just a drive-by appearance, the role without any pizzazz of her past self.

This film is disappointing on multiple levels, but the by-the-numbers visual effects take over as a big chill plot point that is just deadening.

If you’ve seen Disney’s “Frozen” and its sequels, you’ve already seen everything a fast-moving widespread ice storm can do — and this plethora of GCI icicles is eye-catching for a few minutes, but in a repetitive loop, it quickly becomes tiresome. There was more heart in “Godzilla Minus One.”

While much of the “Ghostbusters” lore involves the childhood toys Millennials grew up with, that fondness is frittered away with this soulless, lifeless plot — although it might sell a few proton packs and jumpsuits.

And Ray Parker Jr.’s kicky “Ghostbusters” theme song can only do so much when it’s overused.

There is no reason to call these synthetically engineered characters ever again. Let it go.

“Ghostbusters: Frozen Empire” is a 2024 comedy sequel directed by Gil Kenan and starring Paul Rudd, Carrie Coon, McKenna Grace, Finn Wolfhard, Kumail Nanjiani, Patton Oswalt, Annie Potts, Dan Ackroyd, Ernie Hudson, Bill Murray. Logan Kim, Celeste O’Connor and William Atherton. It is rated PG-13 for supernatural action/violence, language, and suggestive references, and runtime is 1 hour, 55 minutes. It opens in theaters March 22. Lynn’s Grade: D

‘Ghostbusters: Afterlife’ Offers Sentimental Tribute to Harold Ramis

‘Ghostbusters: Afterlife’ Offers Sentimental Tribute to Harold Ramis

By Lynn Venhaus

Just in time to ride an ‘80s nostalgia wave, “Ghostbusters: Afterlife” is a sentimental link to the 1984 blockbuster hit, an opportunity to pay tribute to the late Harold Ramis, and a reason to get the band back together.

In a nod to the film’s enduring connectiveness, director Jason Reitman is the son of Ivan Reitman, who helmed the original. He juggles the comedy, horror, and action with a special fondness for the source material. The wit is there – however, the supernatural plot is a tad sketchy at times, and the go-bigger visual effects are extended too long.

Summerville, Okla., is where Dr. Egon Spengler spent his final days, and after his death, his estranged daughter Callie (Carrie Coon) and her two children, ages 12 and 15, Phoebe (Mckenna Grace) and Trevor (Finn Wolfhard), arrive to check out the old house that is now theirs. They discover their connection to the “Ghostbusters” parapsychologists who removed ghosts in New York City and learn about the secret legacy Egon left behind.

To make it both sweet and fun, the younger Reitman – who also co-wrote the script, along with Gil Kenan (Oscar nominee for animated feature “Monster House” in 2006) – realizes this is an opportunity for a full-circle moment. He even maintains a retro look when possible.

After all, his father started the franchise off, which includes a 1989 sequel, two animated series (“The Real Ghostbusters” and “Extreme Ghostbusters”), comic books, video games “Extreme Ghostbusters: The Ultimate Invasion” and “Ghostbusters: Sanctum of Slime,” music, and a female reboot in 2016, not to mention logo and merchandise tie-ins.

The elder Reitman formed Ghost Corps with Dan Ackroyd to explore expanding the “Ghostbusters” universe, and both are producers on this second sequel.

The affection for these characters is obvious. It’s a glorious moment to see quippy marketer Dr. Peter Venkman, earnest technician Dr. Ray Stantz and steady ex-Marine Winston Zeddemore strap on the proton packs and help save the day.

As much older versions of their leaner, faster selves, Bill Murray, Dan Ackroyd and Ernie Hudson strike the right tone re-emerging as the characters who helped them become pop cultural legends. Missing their brainy partner Egon is certain to leave some misty-eyed. Although he wasn’t as prominent initially as the trio of doctors, Winston’s growth is noteworthy this time.

Appearances by Annie Potts as former assistant Janine Melnitz and Sigourney Weaver briefly as elegant Dana Barrett add to the heartfelt glow.

The towering Stay-Puft Marshmallow Man is referenced in mini-versions who break out on the shelves of a big-box store. In a standout scenes, the adorable puffs wreak havoc and have unfortunate calamities involving flame-roasting and S’mores.

The Ecto-mobile returns, as do containment units and traps, and other vintage paraphernalia. It’s a sight for sore eyes.

The likable young cast enlivens the old story through fresh eyes and an abundance of energy, with “Stranger Things” actor Finn Wolfhard engaging as skeptical grandson Trevor and Mckenna Grace endearing as smart STEM kid Phoebe, the granddaughter who is a chip off the old block. Grace, a veteran of “Young Sheldon” and “Fuller House,” is a natural actress that draws audiences in to her character.

Supporting cast includes Celeste O’Connor, so memorable in “Selah and the Spades” and “Freaky,” as local carhop Lucky that Trevor likes and Logan Kim is funny as the talkative Podcast, who is both a sleuth and a science whiz, that makes friends with Phoebe.

As the leads, the revered Carrie Coon, more known for serious stage and screen work (like Weaver was before the original), is Egon’s abandoned daughter and struggling single mom Callie. She and newly crowned “Sexiest Man Alive” Paul Rudd, who plays teacher Gary Grooberson, are thrown together in a dating scenario that’s a stretch. Comic gold Rudd, with his appealing boyish charm, is the lazy summer school faculty who pops in VHS tapes of old scary movies.

Their respected skills help them turn into the gatekeeper and the keymaster, Zuul and Vinz, although this element gets ridiculous rather quickly. The demonic dogs do the bidding of Gozer, the shape-shifter destructive enemy from the first one, whom wealthy mine owner and land baron Ivo Shandor (J.K. Simmons) had a cult-like devotion to 37 years ago – and started the whole shebang. He’s entombed in an abandoned mine that’s a haven for paranormal activity.

While he has been gone for eight years, the talents and appeal of Harold Ramis looms large over this production, and modern technology enabled the salute to have sincere emotional pull.

Second City alum Ramis, who not only starred as the intellectual Egon but co-wrote the original, first worked with Ivan Reitman on “National Lampoon’s Animal House” in 1978 and went on to write “Meatballs,” “Stripes” and two “Ghostbusters” that he helmed.

A proud graduate of Washington University in St. Louis who stayed active as an alum, Ramis died in 2014 at age 69 from complications of autoimmune inflammatory vasculitis. He is acknowledged as one of the most gifted comedy writers of his time.

At 2 hours and 4 minutes, the film could have connected the dots better between post-big city Egon and his new saving-the-world mission in the middle of nowhere.

 The dirt farm setting seems an odd choice when New York City was such a major part of the storytelling back in the 1980s. In fact, the original is cited for contributing to the perception shift to a more positive outlook about the Big Apple.

The scientific mumbo-jumbo exposition starts wearing thin when the good and evil forces collide in a battle royale for souls, as dark clouds swirl and electrical currents go berserk. But then, the cavalry arrives.

The joy at seeing Peter, Winston and Ray is palpable, and hearing the effervescent “Ghostbusters” theme song, a chart-topper for Ray Parker Jr., induces warm and fuzzies.

Reitman, a multiple Oscar nominee for directing “Juno” and “Up in the Air” (writing and producing too), has crafted a work from his heart to fellow fans reconnecting with their childhood heroes.

Yet, he has dispensed gluttonous Slimer for corpulent Muncher. Nevertheless, the movie provides a family-friendly vibe and a satisfying throwback – at least enough to make you want a Hi-C Ecto-Cooler.

“Ghostbusters: Afterlife” is a 2021 comedy directed by Jason Reitman and starring Carrie Coon, Paul Rudd, Finn Wolfhard, Mckenna Grace, Dan Ackroyd, Ernie Hudson, and Bill Murray. It is rated PG-13 for supernatural action and some suggestive references and runs 2 hours, 4 minutes. It opens in theaters Nov. 19. Lynn’s Grade: B-