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In this Netflix movie, young people on an adventure to save their mother notice more about their past.
By Kyle Turner
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When a parent or wife turns out to have a secret identity, it is intended to change the rules of the game. Invitations a general recalibration of the relationship. Trish Sie’s uninspired action comedy “The Sleepover”, which now airs on Netflix, tracks this formula superficially, but never bases the revelation, or its consequences, on a wonderful emotional truth.
Without this basic credibility, the kidnapping of Margot (Malin Akerman), a former jewellery thief and existing domestic mother, never convincingly alters the family’s dynamics because her life has very few details. Crazy Kevin (Maxwell Simkins) and the clumsy cellist Clancy (Sadie Stanley), his sons who embark on an adventure to save her, have dubious chemistry as brothers and sisters, and their blows between them feel forced and unnatural. Ken Marino doesn’t feel like her husband Ron either. It is presented not only as in a point of mockery, but also as the source of the film’s most unlikely attempts at jokes.
Exploring the complexities of private relationships when terms have been redefined is fertile ground. Doing it through the spy genre can give you an idea of who we are and who we play for someone. But “The Sleepover” slightly imagines the new role Margot takes after her criminal life, while her past role is too clichéd and not specific.
While “The Sleepover” juggles the genres of heist cinema, the action thriller, treasure hunt and teen-teen comedy, he never discovers an identity in which he glides effortlessly, like a thief.
Duration of the sleepover party: 1 hour minutes. Watch it on Netflix.
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