THELMA (2024)

When a 93-year-old woman is duped by a phone scammer pretending to be her grandson, she sets out on a treacherous quest to reclaim what was taken from her.

by Robert English 16th July 202416th July 2024 Leave a reply

Even in a year where he isn’t headlining a summer blockbuster, Tom Cruise is still lighting up the big screen. Despite not appearing on screen in Thelma, the Hollywood superstar still acts as the pseudo-catalyst for our eponymous nonagenarian, to remind her that anything is “mission possible.” Thelma Post (June Squibb) is cinema’s newest action hero, despite being a housebound, 93-year-old widow with hearing aids in this fresh, hilarious action comedy.

Thelma, written and directed by Josh Margolin in his debut, follows Thelma Post, a well-cared-for woman who recently lost her husband. Her grandson, Danny (Fred Hechinger), who just went through a breakup of his own, spends a lot of time with her in her eccentrically-decorated Los Angeles home. He helps her learn how to use e-mail and watches Mission: Impossible—Fallout (2018) on her tiny box television with her.

But after she receives a call from an unknown number, claiming to be her grandson, asking for $10,000 in cash to be sent to a P.O Box to get him out of jail for hitting a pregnant woman, she hastily drops an envelope in the mail while trying to connect with her daughter, Gail (Parker Posey), and son-in-law, Alan (Clark Gregg). They soon get in touch with Danny, who slept in late, and learn that Thelma was scammed. When her overprotective daughter, grandson, and practical son-in-law, discuss the possibility of sending her to a home for 24/7 care, she instead goes on an epic journey to retrieve her stolen money and prove she’s not helpless on her own.

Thelma Post is the picture-perfect example of a grandmother. Overly friendly, she’s always stopping strangers to see if they’ve met before. Affectionate towards her grandson, she’s also incredibly resourceful. Whether it’s finding a way to get across town without a driving licence or stashing away cash in every nook and cranny of her house, she’s a woman who gets things done.

Most of all, she’s alone. Her husband has been gone for two years, her friends are passing away, and those who remain are declining fast. While her family cares for her, how can they truly understand what she’s going through and what’s best for her? Perhaps the mega movie star, Tom Cruise, whose face graces the cover of the tabloid magazine she reads, with the headline “Mission: Possible,” is the only one who truly gets her.

Above all else, Thelma is a vehicle for the immense star power of June Squibb. Squibb imbues her character with such agency and depth, bringing effortless charm and a touch of endearing naivety to every scene. While undeniably an ageing character, prone to the limitations her health imposes, she’s not defined by her age. Squibb ensures Thelma embodies the spirit of the action-comedy genre: a badass heroine who’s not afraid to get her hands dirty when needed. While it’s a shame we haven’t seen Squibb’s full talent displayed throughout a longer career—she only began acting full-time in her seventies—we’re incredibly fortunate to witness her immense screen presence in what will surely be considered her magnum opus.

Thelma is loosely based on director Margolin’s own grandmother, who was scammed in the same way. This is particularly evident in the on-screen relationship between Thelma and Danny. From the outset, their relationship is filled with mutual respect and affection. They can simply exist alongside each other, enjoying one another’s company. However, it’s also deeply complex. Danny tries not to be a carer, but can’t help overstepping the mark. The film subtly yet effectively shows the impact of Danny’s parents on his caring relationship with Thelma. The way this film explores their relationship and Danny’s insecurities that arise from Thelma’s escapades elevates it from a comedic romp to a truly touching film.

While Margolin’s screenplay is excellent, the film betrays a lack of experience in direction. Being Margolin’s debut feature, it has the feel of a first-time director experimenting with blocking actors and movement in space. The constant circling of the characters can be disorienting at times, with the effect not always matching what’s happening on screen. On other occasions, the visuals feel flat. However, there’s a clear vision for the characters and the pacing of the action, which is largely due to Margolin’s work as the film’s editor. The editing keeps the film moving at a good pace, especially when dealing with characters who are inherently slow. Together with an excellent score by Nick Chuba, whose music brings kinetic energy to the film, Thelma has all the makings of a character study, with great comedic timing and moments of absurd action. It uses its 98-minute runtime effectively, though some jokes fall flat. Overall, it’s a slim and no-nonsense feature. Taking on three roles in a film is a tough job, and Margolin has done well.

The dichotomy of classic action sequences with a compelling exploration of ageing is a unique story to tell on the big screen. While Thelma is headstrong about her independence, she’s surrounded by others who aren’t following the same path, most notably Ben (Richard Roundtree). This towering gentleman, a casual friend of Thelma through married friends, is content in his life at the care home. He enjoys the fruit at the cafeteria and looks forward to his role as Mr. Warbucks in their production of Annie. He gets caught up in Thelma’s quest and helps reflect her own views on ageing gracefully.

As for the film’s “villain,” Harvey (Malcolm McDowell), who’s taken a very different path in his life, I craved more nuance to his character. In a harsh world where some can retire comfortably and others have to resort to much darker means to care for themselves and their families, I was looking for a touch more empathy in the script. There are attempts to elicit this from the audience, but they don’t land as effectively when we’re focused back on Thelma’s growth. Still, McDowell is a great addition to the film’s climax, given his limited screen time as a ruthless businessman.

From Thelma’s unique premise, audiences might settle in for a fun summer flick, the kind you can enjoy with your whole family. However, coming out of the film, Thelma has so much more to offer, from explorations of insecurity in our youth to the overparenting of our ageing parents, and the many directions ageing can take us. Most importantly, Thelma is one of the best action comedies of the year, proving that in an industry where ageism is constantly squandering opportunities for older actors and actresses, you can still be the hero of your own story, no matter your age. Without a doubt, she’s one of the most memorable characters we’ll see on screen in 2024.