Thelma — Revenge Has Never Been This Sweet (Or This Slow, Like a Senior’s Scooter)
June Squibb devours celluloid in this pitch-black comedy where Hollywood’s deadliest granny turns scammers into geriatric pulp. A lethal weapon or just a nap with a shotgun?
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But what happens when the vigilante rocks a hearing aid, a hip replacement, and a walker with more miles than a Madrid taxi? Josh Margolin, a director whose résumé until now included only shorts and web projects, decides it’s time to flip the genre inside out like a dirty sock. Thelma isn’t just a film about a pissed-off old lady; it’s a generational manifesto screaming, “The Silent Generation isn’t done fighting—and certainly not with an electric scooter in hand.” The premise is as simple as it is brilliant: Thelma Post, a nonagenarian with more years than an oak tree and more selective memory than a politician on the campaign trail, falls for a phone scammer posing as her grandson. What follows is a journey of restitution blending Driving Miss Daisy with Death Wish, but with more blood pressure meds and zero patience for nonsense. Don’t expect Liam Neeson hunting for his daughter in a dimly lit warehouse; here, the lethal weapon is a granny with a mobility scooter and a determination that would leave Rambo curled up in the fetal position, weeping."'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
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Ending Explained: Thelma
Ficha de Daños Colaterales en Sala
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3 amagos en el tramo intermedio; pestañeo pesado en las transiciones más innecesarias.
Minuto 44 y minuto 73 (comprobando cuánto quedaba de suplicio).
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"A mitad del segundo acto cuando la subtrama secundaria empezó a pesar más de lo que aportaba."
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