Senior trip: Sheila Hancock does a title-role star turn in Simon Hunter's sweet movie, EDIE

Thank goodness for Sheila Hancock and Kevin Guthrie, the two stars of the 2017 film EDIE (just now getting its U.S. theatrical release). Without them and their sterling work -- moment to moment, they play off each other just perfectly -- this sweet but-always-threatening-to-grow-saccharine -- movie might have become intolerable.

The writing and direction are not the culprits; instead, it's the use of the musical score -- credited to Gast Waltzing and featuring a lovely major melody -- which has been allowed to be beaten into the ground so heavily by the finale, which itself provides the heaviest moments, that you'll wish you had brought your own mute button to the theater.

Director Simon Hunter (pictured, right, who also provided the idea for the story; the screenplay is by first-timer Elizabeth O'Halloran) has worked most often in the horror genre, so this aged-senior-decides-to-do-her-own-thing tale must have proven a nice change of pace for the guy. No zombies or mutants to contend with here!

Mr. Hunter has managed a very nice build-up, along with excellent pacing, and the two fine performances he's coaxed from his leads. Actually, I doubt much coaxing was needed, as both Ms Hancock (shown above and below) and Mr. Guthrie (two photos down) have proven themselves more than capable  -- the former since the early 1960s and the latter since the beginning of this century.

Still beautiful at age 83 (when Edie was filmed), Hancock has a remarkable face, which she uses with both subtlety and force (when needed). Her Edie, thankfully, is a nicely rounded character: prickly, sweet and alternately closed and open to at least some degree of change.

In the role of Jonny, the fellow who initially knocks her off her feet (along with his ever-rushing girlfriend, played by Amy Manson, below), Guthrie, above, is Hancock's equal at winning us over without using anything but his skill, charm and good looks. That Edie and Jonny will bond is of course obvious from the get-go. But the smart, funny little pas-de-deux in which they consistently engage proves as engaging as it is believable.

The plot, such as it is, has to do with Edie's need/desire to climb a certain mountain in Scotland (seen below) -- no Everest, mind you, but a real jaunt -- and Edie, just like Hancock, is 83 years of age. Little wonder the locals do not expect this old woman to manage it.

Does she? Does it matter all that much? And why? Or is simply trying the main accomplishment here? You'll find out, as the film builds (so does that music, unfortunately) to its inspirational, feel-good finish. And thanks to these two wonderful actors, you'll happily note that -- as we've often been told -- it's the journey that matters much more than the destination.

From Music Box Films and running 102 minutes, Edie opened this past Friday, September 6, in New York City at the Angelika Film Center, and in Los Angeles at several Laemmle theaters. Here in South Florida, it opens this Friday, September 13, at the Bill Cosford Cinema, Miami, and the Living Room Theaters, Boca Raton. Click here and scroll down to click on Theatrical Engagements to view all currently scheduled playdates, cities and theaters.

Sean Baker's best-yet--the sweet 'n juicy STARLET--hits DVD/Blu-ray/digital venues

All about porn and caring, STARLET makes some surpri-sing connections, both physical and emotional, along the way. This is the third film by Sean Baker that I've seen and covered (Take Out and Prince of Broadway are the other two), and his movies seem to get better and better. In retrospect, you may find yourself thinking of them as documentaries, so well does Baker -- who directs, edits and either writes or co-writes -- create lives that appear utterly real in a milieu that seems equally so. 

But these are narrative films, nonetheless.

Mr. Baker, shown at left, has a good eye and ear, both of which he uses to show us a group of full-bodied characters engaged in making their way in life. He is remarkably non-judgmental, too. This results in films in which you end up rather liking everyone, despite their occasional crass, venal or simply dumb behavior. Baker appears to see the good (at least some good) in everyone -- a rarity these days --  yet his vision is nothing like of a Pollyanna. This, along with his increasing flair for and understanding of the movie-making process, as much as anything else makes his work quite special.

In Starlet, he follows the adventures of a 21-year-old porn actress named Jane (Dree Hemingway, at left and last seen in The Truth About Angels), who looks to have a real future in this sleazy field, if she plays her cards right. Via a yard sale and a large thermos she purchases and plans to use as a vase, Jane makes the acquaintance of Sadie, a curmudgeonly old woman (Besedka Johnson, below, an astrologist-turned-actress, giving her first and, sadly, last film performance). How these two slowly connect, break apart and reconnect provides the meat of the movie, and with the help of his two pretty amazing performers, Baker makes all this register pitch perfect without a false moment.

Ms Hemingway, in particular, proves expert at limning a young woman with remarkably good instincts negotiating her way around everyone from this angry old woman to her porn boss, somewhat sleazy roommates (male, James Ransone, and female, Stella Maeve, below), all kinds of customers at a porn convention -- and even the police. In a more just world, this performance would be winning numerous awards. Maybe Hemingway just makes it look too easy.

Wisely, I think, Baker leaves the porn in the background for quite awhile. From what we initially see, this could almost be any old office situation in which our two girls labor. When, finally, we're confronted with an actual porn shoot (which, by the way, comes pretty close to hard-core action) it is handled so smartly, realistically and un-sensationally by the filmmaker that we simply go right along with it (as do -- whew -- the actors on view). The reason this proves such a smart move is that, by this time, we are so fully involved with and caring about Jane that we can understand and even appreciate her actions here as simply work for hire. In fact, we can maybe even approve of the good job she does.

I can't think of another movie that has achieved quite this. No, not the recent About Cherry, which gave us the business end of porn, or even Boogie Nights, which gave us all sorts of new things. Another reason that Baker's view of the industry proves so special and different is the actor,  Karren Karagulian, above, with Ms Hemingway, who was so good in Prince of Broadway, and adds layers of interest here as the intelligent, business-like, and even (dare we say it) relatively decent man in charge of the business.

The filmmaker keeps his camera up close (below) or distant (above), as necessary, and the results are just right. In a couple of situations, Baker veers near melodrama, but so well does he guide his actors, that the result is never melodramatic. What happens finally, and at any point along the way, is life continuing to unfold, with lessons only begun to be learned and changes maybe partially in place. This -- in our current low-budget, independent film world -- is near-miraculous.

Running 103 minutes from Music Box Films, Starlet (which is the name, by the way, of our heroine's delightful little dog) is available, after its too-short theatrical run, this Tuesday, May 7, on DVD and Blu-ray and via digital formats, too -- for sale or rental.  Extras on the DVD and Blu-ray include audio commentary, The Making of STARLET, interviews with select cast and crew, rehearsal and audition footage (we watched the Besedka Johnson audition: fun!), Behind-the-Scenes, and more.