Deep Cover review – Bryce Dallas Howard leads improv actors into London’s underground

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Howard, Orlando Bloom and Nick Mohammed star in an entertaining odd-trio crime caper with turns by Sean Bean and Paddy Considine Producer and screenwriter Colin Trevorrow has co-created this amiable, high-concept action comedy about three hapless improv actors dragooned into going into deep cover to bust a drug ring. It’s entertaining, though I think some of the cast understand comedy better and more instinctively than others. It’s set in London (though Trevorrow might originally have imagined it set in LA or New York) and the credit is shared with his longtime writing partner Derek Connolly, and also with Ben Ashenden and Alexander Owen, the funny British double act known as the Pin, who also amusingly appear as two squabbling coppers with a Mitchell and Webb energy. The director is the talented Tom Kingsley, who has a substantial TV career and with Will Sharpe got a Bafta nomination in 2012 for the dark comedy Black Pond . Bryce Dallas Howard plays Kat, an American actor whose care...
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Streaming: Thelma and the best films about old-age rebellion

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June Squibb’s star turn as a ninetysomething gran, scammed and out for justice, joins a club of indomitable seniors in the movies, from Anne Reid to Jack Nicholson

June Squibb’s career has run on a different timeline to that of most movie stars: she made her film debut, in Woody Allen’s Alice, at the age of 60, and it was another 23 years before she landed her breakthrough role in Alexander Payne’s Nebraska. Her performance as an embittered pensioner who saltily badmouths past acquaintances and flashes the gravestone of an ex got her an Oscar nomination. It also got her a run of progressively less amusing naughty-granny roles. In Hollywood, older people can be blandly comforting support or quirky joke fodder but not much more.

In Thelma, however, the now 95-year-old Squibb gets her first leading role, as a phone-scam victim tracking down those who robbed her, and adds some welcome human shading to the pensioner-behaving-badly stereotype. Its heroine may ride a scooter on her quest for justice, but Josh Margolin’s film avoids cheap jokes of the old-people-say-the-darnedest things variety, and amid its generally cheery tone makes some sharp points about how society patronises and shortchanges its senior citizens.

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