Netflixable? Who’s a Good (Brazilian) Boy? “Caramelo”

“Caramelo” is a boy-and-his-dog-tale that’s as adorable as it is sentimental and predictable.

Writer-direector Diego Freitas serves up a near perfectly executed São Paulo story of a mischievous stray, a young chef and the ways they connect when one of them gets sick.

There isn’t much that’s surprising here, from the mayhem the dog causes when he sneaks into the restaurant, to the haughty food critic who must be pleased to the sous chef who gets promoted and turns staples of Brazilian working class eats into haute cuisine.

Even that first piercing headache that Pedro (Rafael Vitti at his most engaging) suffers feels pre-ordained and re-fried. Lucky for Pedro he’s taken in the dog that helped him land this job. And headaches or not, that makes this the perfect time to meet that cute dog rescuer/trainer Camila (Arianne Botelho).

“Dogs fit in EVERYone’s lives!”

But the star here is a version of every street stray you’ve seen in Central or South America, a big-eyed brown beauty named Amendoim, which is “Peanuts” in Portuguese. He romps through scenes, vocalizes on cue and turns on the charm after every apartment-trashing, food-stealing/scene stealing frolic.

Director Freitas, who plays a waiter in the film, wisely puts the cute pooch in the hands of his actors — literally — and captures one random but wholly relatable bit of dog behavior after another that adds to the film’s charm.

Camila’s bestie and co-owner of their Best Friend Haven rescue shelter and obedience school is played by Noemia Oliveira, who is holding and sharing a little food with the caramel colored dog whom Pedro and the dog decide should be called “Caramelo” when the dog just lunges to get that extra bite that was intended for the human holding him.

Yes, the dog senses something wrong with his new master and yes, he helps save the day when the plot requires it. But the star’s charm and scene after scene that any dog lover will recognize is what sells this simple, sweet-spirited movie.

“Dogs are a blessing from the Lord,” a little old lady counsels Pedro, in Portuguese with English subtitles.

“The world could be ending, but they’d be living it up,” Camila marvels.

The performances are affecting (Bruno Vinícius stands out as Pedro’s new chemo-buddy), the sentiment understandable and the food looks delicious.

But nobody and nothing upstages the dog here. Amendoim never lets us forget that this may be their world, but it revolves around him. Which is as it should be.

Rating: TV-14, animal peril, profanity

Cast: Rafael Vitti, Amendoim, Ademara, Arianne Botelho,
Noemia Oliveira, Kelzy Icard and Bruno Vinícius

Credits: Scripted and directed by Diego Freitas, with co-writers Rod Azevedo and Carolina Castro. A Netflix release.

Running time: 1:41

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Movie Preview: J. Lawrence, R. Patts, S. Spacek, L. Stanfield and N. Nolte — “My Love”

Love and madness and violence and an all-star cast and director Lynne Ramsey (“We Need to Talk About Kevin”) decamped to Montana for this thriller. It’s based on an Ariana Harwicz novel.

Mubi has “Die My Love, so it’s kind of under the awards radar.

Nov. 7.

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Movie Preview: Kevin James strikes again! “Playdate”

Alan Ritchson’s the dad out-of-work Kevin James should never set up a you-know-what date with.

Sarah Chalke, Alan Tudyk, Isla Fisher and Stephen Root star in this No. 12 comedy coming to Amazon Prime.

The director of “Let’s Be Cops” and “The Girl Next Door” is behind the camera, fiming a script by “Scrubs” and “Community” veteran Neil Goldman. And again, it stars Kevin James. Adjust your expectations accordingly.

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Movie Review: New York “Neighbors” and Theatre “Types” collide in “The French Italian”

“The French Italian” is a dizzy comedy that loses its fizz when it wears out the possibilties of its original premise, but gets some of it back by finding a few other screwy directions to take us.

Writer-director Rachel Wolther’s debut feature dips its toe in New York stereotypes but reaches for broader statements on Gen X “relationships” and Gen Z misanthropy. It doesn’t quite deliver the laughs or insights it could, but the players make it bubble by without much effort showing.

“Saturday Night Live” alumnus Aristotle Athari and Catherine Cohen (“Only Murders in the Building”) are Doug and Val, a couple that traffics in cute and obsesses about their social circle and whether it’s shrinking, and about their rent-controlled brownstone, which they tell their friends they “had to give up” because of annoying, noisy neighbors.

Doug and Val regale one and all about the stranger who lived the downstairs garden apartment, pretty much without incident, until some bottle blonde moved in and brought her karaoke machine with her.

That atonal, Spanish-mangling “La Bamba” that interrupts their tranquility?

“It’s the neighbors!”

“It’s not Lou Diamond Phillips,” that’s for sure.

First Doug and then Val take their circle of friends through what they suffered — the bad singing, the wee Pomeranian and the loud arguments. They speculate and judge them — ill-mannered, people without boundaries, unconcerned about anybody but themselves, self-absorbed Gen Zers.

“Abusive relationship?”

“It’s textbook, really.”

Sooooooo textbook.”

Their friends sympathize. Their friends criticize. They “gave up” a rent controlled townhouse flat? Without confronting them? Without getting REVENGE?

“Give it a googs,” they’re nagged. The blonde is an “actress” fresh out of Wesleyan. “Rich,” they decide. Spoiled. “Untalented” based on her singing.

Before Doug and Val can back out of it, a plot is hatched, their friend the “police sketch artist” and sometime actress Wendy (Ruby McCollister) is onboard, booking “a space” and promising to help with a fake audition for a fake play that will humiliate and put this Mary Dancyger in her place.

So much for “Maybe I should call her and yell at her.”

As Doug and slacker-at-every-job-she’s-ever-lost Val piece together details that they can work into the audition that will sting — the broken bong and annoying dog that were the source of Mary and the guy she moved in with’s arguments — “The French Italian” sets up as a mean-spirited and somewhat cowardly revenge farce.

But when they lure Mary into their “space,” they’re half-amused, half-appalled. “Untalented” doesn’t cover it. From her dye-job to her cartoonish;y large lips to her expressionless Gen Z stare, Mary is unfit to be on a stage, in a commercial or anything where “acting” is required.

Some viewers might be inclined to pity her. Not Doug and Val. It’s just that they can’t ever seem to pull the trigger on confronting her, dropping the charade and having their revenge.

From that first instruction from Wendy about how to use “Annnnd…SCENE,” they’re hooked.

The script becomes a struggle to rationalize what they’re doing and make it funny, and how to find laughs in the umpteenth Gen Z putdown and what this exercise says about this entitled couple of Gen
X wimps.

Cohen brings the right energy to brassy Val and makes the couples’ bitchy banter sing. But her best scenes are at her office, where we figure out in a flash why she can’t hold a job and where she’s upstaged by Larry Owen, playing her flamboyant singing, preening and reaching-his-limits-with-her-slacking boss.

Athari — he was just in “M3GAN 2” — lands a laugh here and there with variations of his attempts to “be a man” and “get on with our lives” speeches to his “committed” partner.

But writer-director Wolther struggles to make the “how bad an actress is she/how dumb are her avengers” rehearsal scenes land even low-hanging fruit laughs. So she gives up and reduces rehearsals to montages. The “relationship” dissection barely breaks the skin as the plot overreaches for a bit of pop psychology it can’t deliver.

And the third act twists, built around an actor (Ikechukwu Ufomadu of “Judas and the Black Messiah”) who has taken Val and Doug’s half-assed “play” to heart, give “The French Italian” an upbeat finish that we’d given up hope of having for the 45 minutes preceding it.

Rating: unrated

Cast: Aristotle Athari, Catherine Cohen,
Ruby McCollister, Ikechukwu Ufomadu  and Chloe Cherry

Credits: Scripted and directed by Rachel Wolther. A Level 33 release.

Running time: 1:32

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Movie Preview: The Fascist Wet Dream that is “King Ivory”

Masked and murderous commando cops fight drugs and drug lords in the hellhole of Tulsa.

Wonder why the National Guard hasn’t been called into Oklahoma?

James Badge Dale and Ben Foster star in what turned out to be Graham Greene’s final film, with Oscar winner Melissa Leo thrown in for good measure.

Nov. 14, it’s “Tulsa King” meets The Evening News, coming to a theater near you.

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Movie Review: Faithful to the End, and Beyond — Who’s a “Good Boy?”

“Good Boy” is elemental horror — a tale of a sick man under natural and supernatural assault — and his dog.

And the marvel of this movie is the performance by that real live dog. Director Ben Leonberg picked up on his pet Indy’s “range” of expressions and emotions and trained, tricked and puzzled the Novia Scotia Duck Tolling Retriever into a canine performance — created by editing — for the ages.

Indy is so devoted to his owner, Todd, that he’s never distracted by whatever goes on beyond the camera’s field of view during a movie shoot. His eyes don’t leave Todd (Shane Jensen) in his moments of need, peril and confusion. But Indy is wary of grandpa’s “haunted house” in the country. Indy wanders. Indy sees and hears things that intrigue and alarm him.

“Good Boy” is a simple, scary thriller that leans on one of the classic tropes of the genre — “The dog knows.” And seeing what Indy sees and taking in what Indy’s frightened, confused but loving and loyal eyes absorb makes us fear for what he doesn’t understand, what faces his master and could face him as well because he just doesn’t know better.

Todd, whose face is rarely seen and then not until the third act, is sick. We gather this from calls from his concerned sister Vera (Arielle Friedman), and from her visit, when she finds her brother coughing up blood.

Todd’s response to this is to flee to grandpa’s old house on the farm. He walks Indy, fusses over him. And when his medical situation turns dire, Indy is with him when he goes to get a cat scan and some very bad news.

But Indy is picking up other threats from their new surroundings. It’s not just their hunting, camo-nut, foxtrap-setting neighbor (Stuart Rudin) that they have to be wary of. There are noises, shadowy figures in the background Indy doesn’t see. And grandpa (horror icon Larry Fessenden), seen on old vhs tapes, had something weird going on around him.

Indy hears whimpers from a locked cellar, which can only be the ghost of Bandit, grandpa’s long-dead dog. He even sees him.

The tangible “threats” here come from the usual horrific visuals — gnarled, skinny, twig-thin black fingers, menacing eyes that pierce the dark, unseen evil reaching from beyond for somebody and somebody’s dog.

Leonberg wisely lets his beautiful, expressive dog’s face tell this story and sell this terror. This low-budget jewel all but mocks every film production that needs a dog but which uses a CGI one instead of a living, breathing, loving and relatable pet, from “Call of the Wild” to “Superman.”

There is no substitute for the real thing, and even people who don’t love dogs reognize that.

The tropes trot by as blood and black bile reach out from beyond — or maybe just from Todd’s diseased condition — and the dog takes in his master’s suggesting horror choices for TV viewing (“Carnival of Souls”) on his grandpa’s old TV.

The film’s limited dialogue and dogs-eye-and-ear-view (muffled dialogue, unseen faces) give its story an underexplained mystery, which works to its advantage. The pools of darkness, gloomy exteriors and shadows underscore the “less is more” ethos that the production lives by.

But as Spielberg himself could tell you, if there’s no Indy, there’s no movie. W.C. Fields may have warned his fellow actors to never co-star with “children or dogs.” “Good Boy” makes the humans all but superfluous as its star delivers some of the most realistic reactions to the unexplainable this time-worn genre has ever seen.

Rating: PG-13, bloody violence, profanity

Cast: Indy, Shane Jensen, Arielle Friedman, Stuart Rudin and Larry Fessenden.

Credits: Directed by Ben Leonberg, scripted by Alex Cannon and Ben Leonberg. An IFC release.

Running time: 1:13

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The last time I ever get on a horse

Robert Duvall talked about having to give up horseback riding the last time I interviewed him, and  even in his 70s, he was taking it hard. He’d made his working life provide him with lots of peak career Westerns, and he took those paydays to settle in “horse country” — not just in Texas.

Me? Not so much. I’ve ridden occasionally over the years,  and I knew it was an iffy proposition for this trip, doing an hour or two on an arthritic hip cross country in Belize. But it is what it is.

I have always appreciated actors who trained vigorously enough to look “right” in the saddle. It’s harder than it looks. Speaking from experience, Blackadder’s insult about “He rides a horse rather less well than another horse would” is pretty hard to avoid if it’s uncomfortable.

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Movie Review: “One Big Happy Family?” Oy!

Linda Lavin makes her last curtain call as graceful as the material will allow in “One Big Happy Family,” her final film before dying last December.

It’s a generally mirthless comedy that strains for laughs as it struggles to graft a “Maybe I’m not Jewish” DNA test narrative onto a child’s impending bat mitzvah.

Lisa Brenner wrote and stars in “Family” as an actress and mom who’s made being Jewish a central tenet of her life, only to discover that decades of “You don’t LOOK Jewish” remarks are now backed up by science.

Her story is told in a kvetching, klutzy script that botches basic math, struggles to make the whole DNA storyline funny, fumbles the bat mitzvah and saddles the 87 year-old Lavin with a veritable dictionary of Yiddishisms to utter.

“Oy” and “gevalt” indeed.

In a voice-over prologue, Rachel remembers freezing up during her own bat mitzvah, only to have her tactless, tone deaf stereotype of a mother (Lavin) take over her speech and scar her for life. The story then shifts to the present day, “twenty seven years later,” as Rachel struggles with organizing the celebration and with the idea of making a speech at her own daughter’s (Lumi Pollack) bat mitzvah.

She’s supposed to be an actress?

The DNA test thing is pushed on her by her TV chat show hostess bestie (Sabrina Cofield), and that’s when she learns she has a half-brother (Josh Fadem), or at least one half-brother for starters.

That infuriates her Calif-flaky, non-binary, juice-bar server/lesbian folk rocker sister (Kat Cunning, funny). But her Long Island mom isn’t admitting anything. At first.

“Did your sister give you one of her brownies?”

Mom then confesses to difficulties getting pregnant back in “the late ’70s,” until turning to artificial insemination.

That’s where the movie’s math, contorted to put a vibrant, doesn’t-look-it 87 year old in the mother/grandmother role. If Rachel is 40, she was born in ’85. Lavin’s Lenore is overusing Yiddish and talking about “remembering when the Dodgers were in Brooklyn,” when they moved to LA in ’57.

Possible? OK. But “plausible” demands more explanation.

The whole mass insemination story that produces constant DNA test site phone updates (amusing) revealing more and more siblings points to more interesting possibilities than it delivers.

Rachel curses in front of her kids and they curse back. Rachel’s sympathetic Filipino doctor-husband (Dante Brasco) keeps suggesting LA scent and herbal remedies to her stress.

Casting Fadem as her non-Jewish half-brother Bobby just muddies the movie’s ethnocentrism. Bobby’s the most “Jewish looking” character in it.

But sitcom-veteran Lavin navigates the abrasive tactlessness of the archetype she’s playing with ease, even if the Yiddishisms feel forced and dated a generation older than the character she’s supposed to be playing.

Rating: unrated, profanity

Cast: Lisa Brenner, Dante Basco, Lumi Pollack, Josh Fadem, Kat Cunning and Linda Lavin

Credits: Directed by Matt Sohn, scripted by Lisa Brenner. An Electric Films release.

Running time: 1:22

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Movie Preview: New York Neighbors Take a Feud to Theatrical Heights — “The French Italian”

No, the stars aren’t household names. But this looks hilarious.

A loud new neighbor drives a couple out of their brownstone, and their revenge is making up a play that she must audition for and rehearse.

That’s so New York it hurts.

Oct. 28, get ready for noises off and noises on and very bad karaoke “La Bamba.”

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Movie Preview: Same Sex romance, with gags and Dominance and Devotion and Skarsgard and whatnot — “Pillion”

Henry Melling is the ordinary looking moptop who falls hard for a domineering biker (Alexander Skarsgard) in this dom rom com.

Nov. 25, this makes its way to the holiday lineup at your local cineplex.

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