'The Parenting' review: Parker Posey, Brian Cox, Edie Falco, Lisa Kudrow star in uneven horror-comedy
It's a crossover of our favourite stars from The White Lotus, Succession, The Sopranos, Friends, Breaking Bad, 13 Reasons Why and Atypical. If that has your head spinning, that's the correct response to the new movie The Parenting (releasing March 13 on Crave in Canada, Max in the U.S.), with the combined star power of Parker Posey, Brian Cox, Edie Falco, Lisa Kudrow, Dean Norris, Brandon Flynn and Nik Dodani.
A horror-comedy film, The Parenting , directed by Craig Johnson (The Skeleton Twins) and written by Kent Sublette (Saturday Night Live), rests of the wacky side of the genre. But it may leave you wanting more from this all-star cast.
The film starts in 1983, a mother is trying to get her kids to come downstairs for dinner, while she also cries over the final episode of M*A*S*H. Burning the frozen pizza in the process, she tries to air out the kitchen smoke and gets pulled down to the basement by a weird creature, quickly snatching up her son as well.
As her daughter comes out of her room, she sees the wallpaper on the walls mysteriously peeling off, the door to her bedroom is suddenly locked and a creature attacks her too.
Then we move on to the present day, where Josh (Flynn) and Rohan (Dodani) have rented a home in the country to meet each other's parents, and for their parents to meet as well. Rohan also plans to propose to Josh during the trip.
Josh and Rohan arrive first, with their dog Kate, and are greeted by Brenda (Posey), who doesn't own the home, but helps the owners manage the property, also revealing that they're the first renters. She's a bit of an odd ball, her hair styled in a giant braid down her back, with some odd questions and responses. For example, when Josh and Rohan confirm they're gay Brenda says, "That works." She also starts drawing a circle in the dirt around the property.
When Josh and Roan's parents arrive, they couldn't be more different. Rohan's adoptive parents Frank (Cox) and Susan (Falco) are more reserved, while Liddy (Kudrow) and Cliff (Norris) are the wackier pair. And the couples don't really get along. Susan, in particular, has a lot of questions for Liddy, who's not giving sufficient answers, like why her name is a short form for Elizabeth, but with two Ds.
As they all try to make themselves comfortable, odd things start happening in the home, like banging sounds in the night. And when they say the Wifi password provided by Brenda, the demon from the past surfaces, and claims Frank's body.
In order to have fun with The Parenting, you have to just lean into the ridiculousness of the story, like seeing Cox projectile vomiting "wacky noddles" and coming down to breakfast naked.
But while some things may give you a chuckle, other comedic elements completely bomb. Like when Frank, as the demon, start spewing homophobic slurs at Josh. It just felt unnecessary and a cheap attempt at comedy that this film didn't need.
Thanks for this impressive casts, there are moments that stand out as fun to watch. Scenes with Falco and Kudrow, in particular, are highlights, bouncing off of each other with some witty banter (these two need to star in a show together ASAP). And Posey is always a delight to watch on screen, giving us that perfect mysterious weirdo energy that we love.
From a haunted house standout, The Parenting doesn't really venture into scares territory.
This is a movie that feels like it doesn't give its impressive cast enough room to use their skills, though it would have totally tanked without their expert abilities.
If you're a fan of this crew of actors, it's likely something you'll be enticed to put on, and while the storytelling is quite disjointed, sometimes you just want carefree laughs. You can't take your eyes off the screen with all these TV legends involved.
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Parker Posey reveals ‘The White Lotus' fans are making sure she's living a comfortable life
'Thank you, darling! I dressed up for you! I got the flowers in the kitchen!' Parker Posey says, accepting a compliment on how fabulous she looks popping up on our Zoom interview from the Chateau Marmont, wearing her now signature pink glasses and a chic scarf. Although the certified Legend earned her first Emmy nomination last year for guesting on Prime Video's Mr. & Mrs. Smith, Posey considers this her first real awards season, and she's doing it right. If you watched Season 3 of HBO's The White Lotus, you already know that Posey could do no wrong as Victoria Ratliff, the North Carolina matriarch whom show creator Mike White described to the actress as a younger version of Grey Gardens' eccentric Big Edie. Having grown up in Louisiana and Mississippi, Posey couldn't wait to choose her (much-imitated) Southern accent. "I love how funny it sounds. I love how there seems to be an emphasis on feeling but not actually what you're saying," she explains. 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Maggie Smith, and who else was in Evil Under the Sun? Peter Ustinov. You know they had this style and this way of being that you knew they were acting and having fun as they were playing these people, you know, but they were very drawn. It was very archetypal. And so that was fun to enter into that story world of whodunit, you know, and just playing someone who you don't really know what she's capable of doing. Do you trust her? Is she trustworthy? Is she high on lorazepam? What's going on? So all that stuff was such good fun. There's an arc with Victoria, from almost childlike to formidable: When she arrives at the White Lotus, I love how nervous she is when Pam (Morgana O'Reilly) brings up taking a test. And then cut to when she's off the lorazepam and she's the one, not husband Timothy (), who finds a way to stop Piper () from staying in Thailand. What was it like for you to play that change? It was so fun to just play a full-on woman, you know. 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And that was my first day of work. Mike is so funny, because you can just hear him cackling. Has anyone done his cackle for you? Patrick (Schwarzenegger) has. It's like [shrieks twice]. Another scene that I thought might also have been enhanced by you was the house party in Episode 7 when Victoria is talking to the Thai beauty (played by Praya Lundberg), asking why she's with her older boyfriend, and telling her to come to North Carolina: "Are you scared of him? I could get you out of this." Praya was a really lovely person. We just connected on set [filming an earlier scene], and I adored her. And I told Mike. I was like, "I love Praya. Can we have a scene with her?" And he thought about it. And then he was like, "I know what I wanna do. I'm gonna bring her into the party," to the scenes that you're talking about. But that [dialogue] was all Mike. … We spent almost seven months [in Thailand], and when I went back to the premiere, people there were like, "Welcome home." 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Was season one or more of a challenge for you as an actor? I don't even know how to really parcel out the first season from the reality of the world of the first season. We were shooting during COVID. I got contact-traced, I don't know, six or seven times or something. So I ended up— I kept getting put alone in a room for like 10 days at a time, and I started to kind of lose my cool. We didn't have [vaccines] yet. We were all wearing those plastic masks. Nobody could see you smile. It was a very dystopian experience on the set. Should viewers be rooting for Cobel at this point? Do you want fans of the show to like her? I don't really care if they like you or not like you. I mean, people go through life making 'the bad guy,' making 'the good guy,' and then the bad guy's the good guy and the good guy's the bad guy. She just has to have her perspective on why she's doing what she's doing. 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I don't think Lumon was so aware of what Cobel was doing and experimenting with. They have a very fine, limited view of what they thought was going on in this experiment, which is not the same idea of the experiment as to what Cobel is doing. How did you come up with Cobel's unique affectation? I was like, watching Maude and all these weird shows. It was sort of a little bit of a tip of the hat to Bea Arthur. And this idea of, like, this world where upper management sounded a certain way. That power sounded a certain way. And maybe how that wouldn't quite be right — it wouldn't sound exactly authentic if it came from a poor kid who was looking up at this rich family, imagining what they sounded like, imagining what they talked like, imagining what this thing was. So, yeah, it's not completely authentic. But she also grew up in this school in a weird way, like with nuns, or with, you know, being indoctrinated by these kind of people who were zealots. So they sounded the most like this. This is her child interpretation of that. You're really into this world huh? I am really into it. But I have to say, Cobel is— she has a whole things going on on her own. She is not somebody who feels comfortable telling people, letting people in, or any of that. And yet she also has incredible hubris and is driven and convinced that she's right. So it's like, in a weird way, it's very lonely, because she's got her whole own agenda, and she doesn't share it with anybody. This might be a stupid question, but did you write any of Cobel's notebook? I love this question, actually. Oh, thank you. It's part of what I love so much about being in the movie business and all the different departments. Our prop department is off-the-hook insane accomplished. Cat (PMG Property Master Catherine Miller) is amazing. So, no. They actually hire people to write stuff. Like, 'I need 10 pages written about blah, blah, blah.' I've seen it throughout my career on different sets. 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