A Plumm Summer (2008)

How sad is this?

It's a mild crowd pleaser for people who are exhausted by blockbusters.

One of the worst ways to make a cult movie is to set out to make a cult movie.

Just intense enough to provide a much-needed diversion, just lightweight enough to make you forget about it soon after it’s over. It’s not exactly “good,” per se, but it does what it sets out to do in terms of putting us on edge, which makes it … successful?

A Plumm Summer is a sweet little indie film pulled off perfectly. There are some big names in the supporting cast who are all note-perfect, most notably Peter Scolari and Henry Winkler. Billy Baldwin also puts in a very good turn for the first time in quite a while. Newcomers Chris Massoglia and Owen Pearce couldn't be any cuter and more adorable as the brothers/stars of the film. Massoglia (credited as "Chris J. Kelly") is particularly outstanding considering it's his first jump from TV to film - you really like him and feel for his character. To me, A Plumm Summer hearkens back to 6:00 on Sunday when the family would gather around the TV with dinners in hand to watch the Wonderful World of Disney's weekly fare. This is like that... but better quality than most of what Walt served up. There's some real heart to this effort thanks to genuine drama that hits a message without becoming overwrought with itself. The mystery element to the story is none too deep or complex, but it doesn't need to be; it's just the vehicle that introduces some very likable characters and lets us get to know them. There's a laugh or two along the way and everything is generally light-hearted and fun. It's a good family film that entertains as well as confronts a serious note or two along the way. It won't change the landscape of movie-making, but it's awfully nice to see that somebody will still make a sweet, innocent film like this. Kudos to the folks responsible for doing that. A very endearing, charming, family film worth anyone's time.

Elliott Plumm (Chris Masoglia) and his younger brother, Rocky (Owen Pearce) live in knock-out gorgeous Montana in the early sixties. Their father, Mick (William Baldwin) drinks too much and never seems to have time for Elliott, seeming to prefer kindergartner Rocky. Mother Roxie (Laura Guerrero) is an attentive mother but she is getting fed up with Mick and his antics. More importantly, Elliott is shy and resents having to share a room with his little brother, even going so far as to dividing their room with a marker on the floor. Only Rocky is carefree, for he is young and enamored with the local television star-magician (Henry Winkler) and his darling frog marionette Froggy-Do. Changes occur. First, the Plumms get new neighbors, a single father and his daughter, who casts her eye on Elliott. Then, someone actually frog-naps Froggy-Do and the show can't go on, as the magic man won't go solo without his beloved sidekick. Can Elliott find Froggy-Do for the town and his brother Rocky? This film, set in knockout gorgeous Montana, has a light-hearted cover and a cute, cute puppet. But, beneath the story are serious issues, like divorce, alcoholism, and mental instability. So, in my view, not for every family. That said, the cast, costumes, script, direction, and all other amenities are quite fine. If you are searching for a family flick that might get the loved ones into an actual conversation, this would be one to try. But, if you are seeking a film that is sweetness and light, look for Beethoven's Big Break or, truly, any of the Beethoven movies.

First off, I was there in Montana in the 60s when the real Froggy Doo did it. Yes, he was 'kidnapped' but that's about all there is in this story that's true. There was no FBI involvement. But I will hold off on pushing my facts onto the screenwriter's fantasies; I am not the target audience for this film. I'll judge it on its own merits. My biggest problem is that most of the characters in this film are repulsive. The adults of the family are whiny, self-indulgent adolescents. Pop starts out by driving up on a chopped hog. In the 1960s? Why? Because he needs to be cool? The beautiful-child teenagers 'rebel' even though they have no reason to do so, other than that their parents are soulless automatons. Happy Herb is a simpering wuss. But worst of all is Froggy Doo. Here he's a vulgar, farting, annoying pest, a clone of Ren and Stimpy instead of Howdy Doody. Why would anyone, including a 6-year-old, think that was funny? Why would any parent let their child watch this stuff? Junk like this makes our heavenly father Captain Kangaroo (peace be upon him) weep.

Viewed as a 'European Premiere' at the Belfast Cinemagic Children's Film Festival, this light-hearted family adventure film must surely win over all but the most hard-bitten cynics. Based on a real incident from the late 60s and set in deepest Montana, it centres on the theft of a children's TV star marionette named 'Froggy Doo' whose antics thrilled the under-8s in the area.In particular, he was the idol of young Rocky Plumm, younger son of failed boxer Mick Plumm, and younger brother of teenager Elliott. This is a film that could have been monumentally awful, but in the first half wins by the charm and audacity of its somewhat naive plot, and the way that its actors fit so seamlessly into the initially predictable characters.But, like many fine films, as it progresses, it undermines the assumptions that we have made about it. The idyllic family life is not so idyllic, the teenage love story gets muzzed by hormonal outbursts, and the love of cinema of the filmmakers shines through in endearing references to great films of the era in which it is set (plus or minus a decade).So, it's a comic family drama; it's a thriller; it's a reflection on the relationship between father and son, and it's a kookie, almost unclassifiable folk tale.It's not perfect, and there are a few cringe-making scenes where the elements of pastiche fall flat on their face, but it enjoyably reminds me of another massively under-valued film - Spaced Invaders. True cinephiles will also see elements of masterpieces of the era as diverse as 'El Dorado' and 'Blow-up'. And the real reason it is so good (of its type) is that it wears the filmmakers' love of cinema on its sleeve. And as a first film by director Caroline Zelder, it is full of great promise...Go and see this and give yourself a treat!