Summer Camp (2024)

Summer Camp (2024). 1h 35m | PG-13

“Greetings again from the darkness. There is always space (and a need) for silly or mindless entertainment. But even that genre requires some skill and refinement, so as not to stoop to imbecilic. The Farelly brothers, the Monty Python troupe, Abrams u0026amp; Zucker, and Mel Brooks all understood this when crafting a movie. Writer-director Castille Landon has been making movies for a while now, and it appears this concept has eluded her despite assembling her most well-known cast.u003cbr/u003eu003cbr/u003eCamp Pinnacle was established in 1928 (according to the sign) and there is a group of young girls we see maneuvering through a traumatic first-time event for one of them who is not quite 11 years old. An older girl offers some very personal assistance, and a lifelong friendship begins among the three outcasts in Sassafras Cabin. Year after year, the girls return for a few weeks of camp shenanigans and bonding. We then jump ahead for the Campu0026#39;s 50-year reunion (we assume this is 50-year reunion of the year these girls started attending and not 50 years for the camp itself, which would have put this at 1978).u003cbr/u003eu003cbr/u003eSelf-help guru (we donu0026#39;t use that word) Ginny Moon (Kathy Bates, Oscar winner MISERY, 1990) is the driving force behind organizing the reunion, and especially in getting her grown-up friends to attend. Mary (multi-Emmy winning Alfre Woodard) is a nurse, while Nora (Diane Keaton, Oscar winner ANNIE HALL, 1977) is a workaholic business owner. Personalities are quickly established. Ginny Moon has never married and rides around in a pink tour bus with her catchphrase, u0026quot;Get Your S*** Togetheru0026quot; plastered on the side. Mary is a talented nurse who is questioning her long marriage to her self-centered husband (Tom Wright). Nora is the type who uses her work as an excuse to avoid living a life.u003cbr/u003eu003cbr/u003eSupporting roles are covered by Beverly Du0026#39;Angelo, Betsy Sodaro, Josh Peck, Eugene Levy (as a love interest!), Dennis Haysbert, and Nicole Richie. There is really no reason to go in depth into what happens in this film. It seems obvious the filmmaker is hoping to capitalize on the success of recent films like BOOK CLUB and 80 FOR BRADY. The potential was certainly here, but the final product is simply insulting, belittling, and demeaning to women. Food fights and pillow fights may be camp staples, but inane dialogue and unbelievable situations and reactions make for painful viewing. Ms. Keaton, in particular, seems to mail in her performance with an overdose of her patented head shakes and sighs (and wardrobe). Ms. Bates and Ms. Woodard outclass her in every scene, with Ms. Woodard delivering the filmu0026#39;s single best scene in her confrontation with her husband.u003cbr/u003eu003cbr/u003eFor years we have heard that the acting opportunities for older women are limited, and clearly there is an audience for stories about mature women. Whatu0026#39;s equally obvious is that these women deserve significantly better stories and better roles. Exploring the concept of finding oneu0026#39;s self in lifeu0026#39;s later stages is a topic worth pursuing … itu0026#39;s simply a concept that deserves better than this.u003cbr/u003eu003cbr/u003eOpening May 31, 2024.”