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We had a couple big new releases this weekend. Below are my thoughts on the new films in theaters and on Netflix. You can keep up with everything I’m watching by following me on Letterboxd @knighthawk7734.

Drive-Away Dolls (Theaters)
Starring: Margaret Qualley, Geraldine Viswanathan, Matt Damon, Pedro Pascal, Colman Domingo, and Beanie Feldstein
Synopsis: By now, we know what to expect from a Coen Brothers film. But what about a film from just a Coen Brother? That’s the question answered with the new film Drive-Away Dolls, which comes from Ethan Coen and his wife, Tricia Cooke. The film was originally slated for a late 2023 release but got pushed to February. It’s got all the elements you’d expect with the Coen name—a strong cast, a crime gone wrong set up, and some quirky characters. But the sum of the parts in this case just doesn’t quite add up to a hit. In the film, we jump back to 1999 in Philadelphia. In the opening, a man (Pedro Pascal) is waiting for someone who never arrives. When he gives up and leaves, things don’t go as planned. This kicks off a misadventure that quickly draws in a couple of girls, Jamie (Qualley) and Marian (Viswanathan). Jamie is something of a free spirit. That makes her fun at parties but gets her in hot water with her girlfriend (Feldstein). Soon, she finds herself with a black eye and in need of a place to live. Meanwhile Marian is a bit more strait-laced. She works a job she doesn’t care for, fending off advances from co-workers who don’t really know who she is. When Marian decides she needs a break and wants to head to Tallahassee, Florida, Jamie decides she should tag along. She suggests they take a drive-away, a cheap vehicle that needs to be transported to a specific location. They happen to arrive to request one from Curlie (Bill Camp) at just the time he’s gotten a call about an urgent run to Tallahassee. He mistakes the request and sends the girls on their way. When his client (Domingo) arrives with his couriers (Joey Slotnick and C.J. Wilson), things go off track quickly. The girls don’t realize they’re in for more than they thought on this quick trip to Florida. There is a lot of potential in the set up. As I mentioned, the cast and basic premise are solid. I liked some of the dialogue and how the characters were drawn. And the overall arc of the narrative feels like the kind of winning formula we’ve seen from Ethan and Joel Coen in the past. But it doesn’t quite come together here. There’s a large swath of the narrative that is something of a love story. Your interest in that, and the twist on what the girls are transporting, will likely somewhat impact how you feel about this journey. More than that, there are some choices made in terms of editing and quick transitions alluding to the big reveal that don’t always work and sometimes feel like they drop in out of nowhere. What works for me is Qualley and Viswanathan, who are strong performers that seem to be having fun. In fact, most of the cast seems to be having fun. We get a cameo from Matt Damon that has its moments as well. But the overall arc of the story doesn’t quite come together. Ultimately the film doesn’t hit as it could have despite some of the strong ingredients and elements. This ends up being a misfire for me.
Rating: Rated R for crude sexual content, full nudity, language and some violent content.
Verdict: Two stars out of five

Mea Culpa (Netflix)
Starring: Kelly Rowland, Trevante Rhodes, Nick Sager, and Sean Sager
Synopsis: This new film comes from writer/director Tyler Perry. We’ve seen his comedies—particularly those featuring Madea—hit well with audiences. But what about darker dramas? In this one Mea (Rowland) is an attorney who is stuck in a bad marriage to Kal (Sean Sager). She gets a chance to work on a high-profile case with Zayir (Rhodes), which means going against her caustic brother-in-law Ray (Nick Sager). The case ends up being more twisty than expected, as sparks fly between Mea and Zayir, and she learns dark secrets about her family. There are some elements here that could work as a film, but it doesn’t all come together well in this film. This has a strange story, weird character development and what, to me, felt like a completely ridiculous final act. It was a complete misfire that can be safely skipped.
Rating: Rated R for strong sexual content, graphic nudity, language, some violence and drug use.
Verdict: One and a half stars out of five

Ordinary Angels (Theaters)
Starring: Hilary Swank, Alan Ritchson, Tamala Jones, and Nancy Travis
Synopsis: The best faith-based films succeed when they remember to first be a film. When they concentrate on telling a powerful story with complex characters, you’re drawn in and the message flows through. That’s the key to films—the story that inspires and draws you in. The new faith-based film Ordinary Angels, which opens wide on Friday, February 23, remembers the importance of telling a great story. Based on true events, this is interested in being a rich, compelling journey for these characters. And that allows the message of faith, hope, and compassion to flow through the narrative, creating a rewarding and emotional journey. The film takes place in 1993. Sharon Stevens (Swank) is a hairdresser and mother who has a problem with alcohol. Her friend and business partner Rose (Jones) pushes her to get help. In an AA meeting, she hears the advice of finding a cause to get involved in. While Sharon doesn’t think she has a problem, she sees the story of Michelle Schmitt (Emily Mitchell) in the local paper. Michelle’s mother passed away and now her liver is failing. At five-years-old, she needs a transplant to survive. That’s left her father, Ed (Ritchson), grieving and deeply in debt. For some reason, Sharon feels compelled to help. Sometimes despite the protests of Ed, she gets involved, raising funds and helping the family get clear of debt. It’s through her work helping others that she’s finally able to admit the help she needs in her own life. This is a powerful and often inspiring film. In fact, the third act is quite the emotional journey. That’s because the film takes its time and gets you to invest in Sharon, Ed, Michelle, and their journey. It builds on the story and helps you take this journey with them. I appreciated the script—which comes from Kelly Fremon Craig and Meg Tilly—and the way it tells the story and builds out these people and their lives. And it helps that the film has some strong actors who give some strong performances. Ritchson, who stars as Reacher on the small screen, brings a different kind of depth and intensity to Ed. But it’s Swank who makes the film hum. She’s brave and sympathetic as Sharon, making you feel the depth of her story—both her faults and the redemption through this process. I enjoyed the film and the overall journey. It will be a great and inspiring way to wrap up February and is one of my favorite films of the year so far.
Rating: Rated PG for thematic content, brief bloody images and smoking.
Verdict: Three and a half stars out of five