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Last updateTue, 18 Sep 2018 1pm

Over Labor Day weekend, I binge-watched Ozark, a show about a Chicago family whose financial-expert patriarch, Marty Byrde (Jason Bateman), made the unfortunate decision to launder money for a Mexican drug cartel. He eventually winds up in the Ozarks with his family, where he finds ways to launder more money through the lakeside businesses he gobbles up.

The first season worked just fine. Bateman himself directed a couple of episodes that I found to be generally gripping, and Laura Linney had some great moments as Wendy Byrde, mother and wife. Julia Garner was very good as Ruth, a local looking to ride Marty’s fake wealth into a better life.

As for the just-released second season … I am four episodes in so far, and it stinks.

It’s all about the Byrdes being stuck in the Ozarks and trying to manipulate their various schemes, with the first few episodes trying too hard to explain what happened in Season 1. It’s a show in which it seems like the writers are desperately worried about reminding viewers about all the past details. Hey, let it fly; we’ll figure it out.

The first season focused on criminal activity in the small territory. The second goes into state government and political intrigue as the Byrdes try to build a casino. The dialogue gets dumber and dumber as the show wears on, and it becomes a slog.

I don’t like what I’m seeing. Ruth has become nothing but annoying; Marty and Wendy are just running around over-explaining why they are bad; and Trevor Long’s increased screen time as Ruth’s disgusting dad is unwelcome.

I hope things get better in the final six episodes of Season 2, If they do not, Ozark will have been better off as a limited series rather than a continuing entity. It’s stretching its premise to extremes that are not at all entertaining.

Ozark is currently streaming on Netflix.

Published in DVDs/Home Viewing

Lily Tomlin moves right to the top of my 2015 Best Actress list thanks to her performance in Grandma, a film that should put her in strong contention for an Oscar nomination 40 years after she got a nom for her first movie role in Nashville.

As Elle Reid—a grandma who will kick your boyfriend in the dick rather than offering him tea and cookies—Tomlin delivers a performance that runs the full gamut of emotions while being consistently funny. Every line delivery feels organic and natural, as if the role was created and written with her in mind.

Writer-director Paul Weitz, who worked with Tomlin a couple of years ago on Admission, did, in fact, write the role of Elle for Tomlin. It’s a role the legendary comedian richly deserves. It’s nothing short of a total blast watching Tomlin let loose in the sort of spotlight role that has evaded her for too many years. Grandma is her best role since playing Ben Stiller’s druggie mom in Flirting With Disaster nearly 20 years ago.

Elle’s granddaughter, Sage (Julia Garner), shows up at the door shortly after Elle has broken up with Olivia (Judy Greer), her younger girlfriend. Sage has an age-old problem: She’s pregnant; she’s scheduled for an abortion in a few hours; and she’s flat broke. Elle, a well-known writer, would seem like a good candidate to have some cash on hand. Unfortunately, she has used all of her cash to pay off credit card debts, and she cut up those credit cards to make some nice wind chimes for the front porch.

The two jump in Elle’s old 1955 Dodge Royal (a car actually owned by Tomlin) and set out to find some quick cash before Sage’s appointment at the clinic. Their travels include a stop at a café for bad coffee. (There’s a good cameo by John Cho, aka the new Sulu.) They eventually wind up at Sage’s boyfriend’s house, where said boyfriend (Nat Wolff) gets a hockey stick to the nuts courtesy of Elle.

Elle and Sage meet a lot of people on the way to the clinic, and each encounter gives Tomlin a chance to blow up the screen. There’s nothing stereotypical about this grandmother, a cantankerous woman with a good heart behind all of her sarcasm and staged coldness.

Coming out of nowhere with what might be his career-best performance is Sam Elliott as Karl, one of Elle’s former lovers. Elle and Sage drop by his house in their quest for monetary assistance, and Karl’s reaction to their visit goes from pleasant, to confusion, to utter disgust. Elliott only has one scene in the film, but it’s so powerful that he could find himself in Oscar contention as well. He’s that good.

Oscar-winner Marcia Gay Harden arrives late in the film as Judy, Elle’s daughter and Sage’s mom, a career-driven woman who has a treadmill set up at her workstation. Harden puts another charge into a movie that is already high-octane; she finds the humanity in a woman who is a bit neglectful as a mom, but can perhaps come through in the clutch. Harden, like Tomlin, finds some stinging laughs in Weitz’s script; it’s her best work in many years.

The late Elizabeth Peña, in one of her last performances, makes a memorable appearance as a former friend of Elle who lowballs her on some first-edition books she attempts to pawn. The film eventually wraps after a series of character resolutions that are completely satisfying and devoid of schmaltz.

It’ll be a shocker if Tomlin doesn’t attend the Oscars with a shot at gold next year. Elle is the kind of role that wins awards—or at least earns you a seat next to Brangelina for the show. Tomlin—who received an Emmy nomination for Grace and Frankie, a Netflix series co-starring 9 to 5 partner-in-crime Jane Fonda—is back in top form.

Grandma is now playing at the Ultrastar Mary Pickford Stadium 14 (36850 Pickfair St., Cathedral City; 760-328-7100); the Regal Rancho Mirage Stadium 16 (72777 Dinah Shore Drive, Rancho Mirage; 844-462-7342); and the Cinémas Palme d’Or (72840 Highway 111, Palm Desert; 760-779-0430).

Published in Reviews