Thursday, August 13, 2026

The Dink plus Short Takes on some other cinematic topics

Tennis Stars in a “Pickle”

Reviews and Comments by Ken Burke


I invite you to join me on a regular basis to see how my responses to current cinematic offerings compare to the critical establishment, which I’ll refer to as either the CCAL (Collective Critics at Large) if they’re supportive or the OCCU (Often Cranky Critics Universe) when they go negative.  However, due to COVID concerns I’m mostly addressing streaming options with limited visits to theaters, where I don’t think I’ve missed much anyway, but better options are on the horizon.  (Note: Anything in bold blue below [or near purple] is a link to something in the above title or the review.)


My reviews’ premise: “You can’t please everyone, so you got to please yourself.”

(from "Garden Party" by Rick Nelson and the Stone Canyon Band, 1972 album of the song’s name)

However, if you’d like to know more about rationale of my ratings visit this explanatory site.

 

The Dink (Josh Greenbaum)   rated PG-13  103 min.


Here’s the trailer:

        (Use the full screen button in the image’s lower right to enlarge its size; 

        activate the same button or use “esc” keyboard key to return to normal.)

 

If you can abide plot spoilers read on, but this blog’s intended for those who’ve seen the film or want to save some $ (as well as recognizing those readers like me who just aren’t that tech-savvy).  To help any of you who want to learn more details yet avoid these all-important plot-reveals I’ll identify any give-away sentences/sentence-clusters with colors plus arrows: 

⇒The first and last words will be noted with arrows and red.⇐ OK, now continue on if you prefer.


WHAT HAPPENS: Dustin—Dusty, or alternately “The Hammer” (his sports nickname coming from an early ability of powerful tennis serves)—Boyd (Jake Johnson) was trained from early boyhood by demanding father Chuck Boyd (Ed Harris) to be a domineering tennis pro, which he was on his way to becoming, collecting wins and trophies along the way until he met his match (so to speak) as a teen (played by Nathan Blair then) against an even-better player, Andy Roddick (Cooper Woestendick then, actual Roddick later), whose intimidating actions led to a mid-match bathroom break where, as Dusty’s story goes, he slipped on a wet floor (implications blamed Roddick), injuring his wrist, ending his career (although he much later admits he was so intimidated that day he slammed his racket on his wrist to prevent losing to Andy).  Now, as a young adult he works half-heartedly at Dad’s tennis club, not putting much effort into teaching tennis skills to young kids.  Then Chuck gets a challenge from pickleball players who want more courts, especially because the only one they have isn’t in proper shape.  Chuck cites a rule that calls for a tennis tournament to settle any disputes, with the assumption Dusty will emerge as Dad’s finalist, especially because he’s in much better shape than the club’s other, older members; however, when Dusty attempts to jump over the net to congratulate a badly-beaten opponent he trips, severely injuring his right wrist again.  

 

 Dusty’s (sex-obsessed) physician, Dr. Stone (Ben Stiller), tells him pickleball would speed up his recovery so he grumbles but goes out to learn this objectionable sport where he ends up teaming with Candice (Mary Steenburgen), a considerably-older divorcee, whom he begins to become attracted to, even pretending to be her boyfriend to counter her ex-husband, Mitch’s (Martin Kove), flaunting of his new, young squeeze.  Yet, Candice tells Dusty she’s not attracted to him, they part on bad terms.  As the tennis tournament goes on, Dusty’s wrist heals, Chuck chooses him as his hoped-for champion, but Dusty finds out it’s only because the previous choice died in a freak accident.  Angry, Dusty reconciles with Candice, plays for the pickleballers, learns his opponent will be Andy Roddick; after winning a coin toss Dusty picks the pickleball court in hopes of putting Roddick at a surprise disadvantage; nevertheless, Andy quickly learns the new game, starts piling up crucial points until pickle-proud Skip (Patton Oswalt) tells Dusty to use the dilapidated court to his advantage, which he does, then wins with a dink shot (soft serve just over the net, opponent can’t get to it fast enough).  Despite knowing he must now provide more pickleball courts, Chuck’s happy Dusty finally beat Roddick.  Six months later there’s lot of pickleball players at the club, including Chuck, with Dusty and Candice as teammates, close friends.⇐  (More plot details here if you wish.)


SO WHAT? If nothing else, I finally learned a few things about pickleball, not that my increasingly-mobility-challenged body would ever allow me on a court to see what skills I might (more likely, might not) possess, although Nina and I did agree on some interest in going down to our condo-complex clubhouse to see if either of us can still hit a ball over a ping-pong net.  Fortunately, you don’t need to know anything, really, about pickleball to follow what’s happening in this intentionally-silly movie because it’s mostly about relationships that don’t work a lot of the time (although presented in manners that are usually more humorous than soul-crushing; probably the one with the least trauma is the long-standing friendship between Dusty and his constant-supporter, PJ [Aaron Chen]) with an inevitable final showdown that you can easily follow from the ongoing point-totals, even if you’re not clear how those points are achieved.  You don’t even have to know much about constantly-complaining John McEnroe (playing himself) to appreciate the remarks from this grouchy tennis legend.  However, while I got enough enjoyment from watching this movie I can’t say it was anything beyond predictable most of the time—the only real surprise for me coming from Candice’s uninterest in Dusty’s awakening attraction toward her (seeming encouraged by watching The Graduate [Mike Nichols, 1967] with her—but Candice is nothing like Mrs. Robinson—even as he’d never previously heard of the film nor knew who Dustin Hoffman was [I guess there’s no regular gathering of Dustins to share life stories], although he did easily recognize that Benjamin Braddock [Hoffman] was driving the wrong way on the San Francisco-Oakland Bay Bridge if he’s supposedly going to Berkely, a necessary visual compromise of the shot to be able to see him on the top deck of the bridge; I guess this Dusty knows the territory), so we thankfully didn’t have to get into cougar-concerns about their age gap.  There’s really not much else to say about what goes on here, but it was never boring, the characters and conflicts were all well-presented, and pickleballers especially (the rest of us as well) would likely have a hard time finding their new sport so celebrated elsewhere.


BOTTOM LINE FINAL COMMENTS: The Dink is a straight-to-streaming release, on Apple TV since July 24, 2026, free to that platform’s subscribers (or to anyone with their 7-days no-charge access offer, then $12.99 on a monthly basis should you choose to continue).  The CCAL’s somewhat supportive of your possible interest in this movie with the Rotten Tomatoes positive reviews at 75% but the Metacritic average score reverses those numbers to 57% as my 3 of 5 stars (60%) is close to the MCers as I found this presentation to be funny some of the time, predictable almost all of the time, yet still fun enough to watch given how the headliners in the cast were consistently enjoying themselves.  One critic who also found enjoyment here is Carla Meyer of my local San Francisco Chronicle who says: “A broad, intentionally stupid sports comedy centered on pickleball, ‘The Dink’ pays homage to the ‘00s subgenre that included the gems ‘Dodgeball’ and ‘Talladega Nights’ and duds ‘Blades of Glory’ and ‘Semi-Pro,’ themselves all spiritual descendants of ‘Caddyshack’ (1980). […] Such full commitment to risky comedic asides evokes ‘Barb and Star’ the sublimely dumb 2021 Kristen Wiig comedy that was released on VOD rather than in theaters because of the pandemic. A cult favorite at the time, it has picked up critical steam since. ] Despite a plot that goes in and out of consciousness and a 102-minute runtime that approaches bloat, ‘The Dink’ matches ‘Barb and Star” in laughs per scene, and eventually, a sense of hopefulness. Don’t wait for it to be rediscovered.”  Carla, thanks for these allusive-connections, saved me research time.


 As you might assume, though, with this rather-tepid CCAL response there are others not so overjoyed with what The Dink delivers, like David Rooney of The Hollywood Reporter (MC 40): As original streaming movies go, it’s not the worst, nor is it at all memorable. […] Even an ensemble stacked with veterans of standup, sitcoms and sketch comedy fails to bring much edge to the material. When John McEnroe parodying his unfiltered tennis commentator style is the closest you get to funny, maybe something’s missing. […] Like most meat-grinder, non-auteur streaming originals, The Dink — named for an often-decisive drop shot — has the bland sheen of an insurance commercial. […] In truth, it’s not much of anything beyond background noise while you’re making dinner. The most imaginative thing about it is that it’s not called Pickleball.”  I certainly didn’t find it to be nearly that bad, although I admit there’s nothing about the elements that constitute it to lure me back for a repeat viewing, so choose as you will as to whether this one goes on your schedule or not; while you’re contemplating that, you can be entertained with my standard review wrap-up of a Musical Metaphor, this time Queen’s "We Are the Champions" (1977 News of the World album) where during the movie, you can practically hear Dusty singing You brought me fame and fortune and everything that goes with it / I thank you all / But it’s been no bed of roses / No pleasure cruise / I consider it a challenge before the whole human race / And I ain’t gonna lose.”  Pickleball may never overtake tennis in popularity, but its supporters in this story have certainly found their outdoor calling.

         

SHORT TAKES

           

Related Links Which You Might Find Interesting:

        

We encourage you to visit the Summary of Two Guys Reviews for our past posts* (scroll to the bottom of this Summary page to see additional info about your wacky critic, Ken Burke, along with contact info and a great retrospective song list).  Overall notations for this blog—including Internet formatting craziness beyond our control—may be found at our Two Guys in the Dark homepage.  If you’d like to Like us on Facebook (yes?) please visit our Facebook page.  We appreciate your support whenever and however you can offer it unto us!  Please also note that to Post a Comment below about our reviews you need to have either a Google account (which you can easily get at https://accounts.google.com/NewAccount if you need to sign up) or other sign-in identification from the pull-down menu below before you preview or post.  You can also leave comments at our Facebook page, although you may have to somehow register with us there in order to comment (FB procedures: frequently perplexing mysteries for us aged farts).

 

*Please ignore previous warnings about a “dead link” to our Summary page because the problem’s been manually fixed so that all postings since July 11, 2013 now have the proper functioning link.

 

If you’d rather contact Ken directly rather than leaving a comment here at the blog please 

use my email address of kenburke409@gmail.com—type it directly if the link doesn’t work.

             

OUR POSTINGS PROBABLY LOOK BEST ON THE MOST CURRENT VERSIONS OF MAC OS AND THE SAFARI WEB BROWSER (although Google Chrome usually is decent also); OTHERWISE, BE FOREWARNED THE LAYOUT MAY SEEM MESSY AT TIMES.

           

Finally, for the data-oriented among you, Google stats say over the past month the total unique hits at this site were 47,668.  (As always, we thank all of you for your ongoing support with hopes you’ll continue to be regular readers.)  Below is a snapshot of where those responses have come from within the previous week (appreciation for the unspecified “Others” also visiting Two Guys’ site):


Wednesday, August 5, 2026

A Private Life plus Short Takes on other cinematic topics

“Shrink”-ing Situations

Reviews and Comments by Ken Burke

I invite you to join me on a regular basis to see how my responses to current cinematic offerings compare to the critical establishment, which I’ll refer to as either the CCAL (Collective Critics at Large) if they’re supportive or the OCCU (Often Cranky Critics Universe) when they go negative.  However, due to COVID concerns I’m mostly addressing streaming options with limited visits to theaters, where I don’t think I’ve missed much anyway, but better options are on the horizon.  (Note: Anything in bold blue below [or near purple] is a link to something in the above title or the review.)

My reviews’ premise: “You can’t please everyone, so you got to please yourself.”

(from "Garden Party" by Rick Nelson and the Stone Canyon Band, 1972 album of the song’s name)
However, if you’d like to know more about rationale of my ratings visit this explanatory site.

A Private Life (Rebecca Zlotowski) rated R 108 min.


Here’s the trailer:

      (Use the full screen button in the image’s lower right to enlarge its size; 

      activate the same button or use “esc” keyboard key to return to normal.)

 

If you can abide plot spoilers read on, but this blog’s intended for those who’ve seen the film or want to save some $ (as well as recognizing those readers like me who just aren’t that tech-savvy).  To help any of you who want to learn more details yet avoid these all-important plot-reveals I’ll identify any give-away sentences/sentence-clusters with colors plus arrows: 

⇒The first and last words will be noted with arrows and red. OK, now continue on if you prefer.


WHAT HAPPENS: Dr. Lilian Steiner (Jodie Foster) is a confident Jewish-American psychiatrist living/working in Paris where patient problems have recently arisen.  First, Pierre (Noam Morgensztern) is threatening to sue her over the ongoing time and money he’s invested in her procedures (to no avail) to break his smoking habit, but he’s recently seen a hypnotherapist, Jessica Grangé (Sophie Guillemin), who seemingly cured him after one session.  Far more serious is the death of another long-term patient, Paula Cohen-Solal (Virginie Efria), who appears to have committed suicide using an overdose of Steiner’s prescribed meds.  Paula’s daughter, Valérie Cohen-Solal (Luàna Bajrami), invites Lilian to the wake where the furious widower, Simon Cohen-Solal (Mathieu Amalric), throws her out.  Lilian also has a strained relationship with her adult son, Julien Haddad-Park (Vincent Lacoste), leading to Lilian's constant crying, prompting a visit to her sympathetic ophthalmologist ex-husband, Gabriel Haddad (Daniel Auteuil), after which she visits Pierre’s hypnotherapist for help.  This leads to a dream-state where she sees herself as a male Jewish cellist in Nazi-occupied Paris with Paula as her fellow musician/pregnant lover, Simon as the conductor with a pistol instead of a baton.  Lillian listens to old recordings of sessions with Paula where the woman notes Valérie would kill her if she learned Simon’s not her biological father, which leads Lilian to fear Valérie killed her mother so she sets out to find evidence to prove that fear leading to a series of mysterious phone calls, vandalization of her car and office.  Then Lilian begins to suspect Simon is the killer, prompted by news Paula’s aunt Pearl left her a large inheritance, now the properly of Valérie and Simon.  In another hypnotic dream Lilian sees Simon shooting Paula; when awake she finds Simon’s now living with another woman.  Pierre re-emerges in this narrative, admits he made the phone calls, did the vandalism as his smoking addiction’s returned.  Lilian then discovers Paula used her meds to poison Pearl, then killed herself out of guilt,  Lilian reconciles with Julien, treats Gabriel as a close friend, resumes her practice with Pierre as a client.⇐  There are various other nuances in this plot, so if you’d like to explore them visit this site.


SO WHAT? In hopes the preceding plot summary intrigued you enough to want to see this film, I’ve saved the possible-deal-breaker for this section of the posting: This is a French film so except for a few brief dialogue exchanges in English all the rest is in French (apparently some in Spanish too, but I was too busy reading the captions to notice), so unless you’re adamantly-opposed to such an intrusion on your viewing experience (as a lot of U.S. moviegoers seem to be, which probably contributed to this film’s meager stateside box-office income), be forewarned that unless you’re as fluent in French, as is Ms. Foster, you’ll have to do a lot of reading to complement your viewing (as the spoken words enter your consciousness as well, I think you’ll be impressed by Foster’s command of this second language, spoken as if it were her native tongue),  You should also know that unlike some TV murder mystery series (such as PBS’ My Life Is Murder)—where an initially-seemingly-solid-suspect is found to not be the person responsible for the featured death, thereby giving the featured detective a reason to probe deeper into the fuller details of what often starts out as an assumed accident—this plot may begin like that before it evolves into an unexpected closure.


 Yes, Dr. Steiner’s convinced Paula was a murder victim, not a suicide, but the … Private Life story takes us in different directions than we’d been led to assume if we consume on a regular basis (as I and my wife, Nina, eagerly do) such TV fare as Miss Fisher’s Murder Mysteries, Midsomer Murders, The Brokenwood Mysteries (all on PBS along with many other similar shows), Only Murders in the Building (Hulu) as well as more gruesome miniseries such as I Will Find You (Netflix) and the latest incarnation of Cape Fear (Apple TV).  So it’s clear we’re primed to watch murder mysteries (assuming there was a murder in A Private Life as Lilian is determined to uncover).  What we found was not at all what we expected, yet it was fascinating nevertheless.  But, I don’t blame you if you feel that I should have more to say about this film if I enjoyed it so much; all I can say in my own defense is some successful works of art are best encountered more by just experiencing them as they unfold rather than trying to analyze in detail what’s fascinating about their components and the structuring of these intriguing elements.  Still, there are others more eloquent than me in verbalizing such fine aesthetic experiences so I’ve included a couple of examples just below for your edification.


BOTTOM LINE FINAL COMMENTS: A Private Life (Vie privée) is often noted as a 2025 film because it debuted at the Cannes Film Festival on May 20, 2025 (also that year it was shown at the Toronto International Film Festival, the New York Film Festival, and some others), then was released in France on November 26, 2025; however, what I care about is when something comes to American domestic (U.S.-Canada) theaters or streaming, so for me this is still a 2026 offering (the only ones I intend to review for the rest of this year and, surely, into 2027 as upcoming late year releases will take their time to find me as winter flows into spring) as it had its northern North America debut on January 16, 2026, made $1.4 million in a limited run. ($10.3 million worldwide as it had a better presence in other countries where dialogue in a non-primary language [or French where France is concerned] isn’t the generally-automatic-turnoff that occurs with such fare for numerous U.S. audiences.)  Now, though, to see it will require streaming where you’ll find it’s free to Netflix subscribers (if you want to sample their vast holdings it’s $8.99 for a month [with ads] or $19.99 [no ads]) or you can go to either Amazon Prime Video or Apple TV where it rents for $5.99 (in all options English subtitles are provided for the benefit of monolinguists like me).  The CCAL’s supportive of your investment in this option with the Rotten Tomatoes positive reviews at 82% while the normally-less-enthusiastic Metacritic average score is 67%As an example of one who agrees with me in support of A Private Life is Manohla Dargis of The New York Times (MC 80): Zlotowski, working from a script that she wrote with Anne Berest, persuasively establishes the coordinates of Lilian’s cosseted, oh-so-proper haute bourgeois life with illuminating details. Everything gleams in this woman’s world, from her smart, perfect bob to the luxurious surfaces in her spacious apartment and the leather chair where she sits as her patients share their deepest and most banal concerns. Her nice, organized world begins to fall to pieces, though, when she learns that Paula has died […] Zlotowski similarly thickens her plot with romance, revelations of trauma and surrealistic visions, but with a light touch that becomes progressively playful. The more Lilian discovers, the less cleareyed she seems and the more winning her personality becomes.”  Well said!

 


 For every rainbow, though, sometimes you just get rain, such as with Peter Bradshaw of U.K.’s The Guardian (MC 60): […] a genial, preposterous psychological mystery caper: the tale of an American psychoanalyst in Paris, watchably played by Jodie Foster in elegant French, who suspects that a patient who reportedly committed suicide was actually murdered. Zlotowski is perhaps channelling Hitchcock or De Palma, or even late-period Woody Allen – or maybe Zlotowski has, like so many of us, fallen under the comedy spell of Only Murders in the Building on TV and fancied the idea of bringing its vibe to Paris and transforming the mood – slightly – into something more serious. […] Vie Privée canters along to a faintly silly, slightly anticlimactic conclusion and audiences might have been expecting a bigger and more sensational twist. Yet Foster’s natural charisma sells it.”  As always, I leave it up to you regarding which critical direction aligns best with your tastes, but if you don’t mind a lot of reading while watching, along with an unconventional plot, I think you’d find this film to be a good investment, if for no other reason than just seeing marvelous (2-time Best Actress in a Leading Role Oscar winner) Jodie Foster again.  Or, maybe you’d prefer audio to video by listening to my usual review-ending Musical Metaphor choice, this time being Leonard Cohen’s "Hallelujah" (on his 1984 Various Positions album) which, I admit, doesn’t relate directly to this film’s content but has allusions to concepts of failed life choices, self-criticism, misguided energy, yet reconsidered acceptance.  Besides, I couldn’t think of anything else this week and this song’s wonderful to hear, so enjoy!  (I know Nina will which makes me happy with this odd choice anyway.)


SHORT TAKES


Related Links Which You Might Find Interesting:

 

We encourage you to visit the Summary of Two Guys Reviews for our past posts* (scroll to the bottom of this Summary page to see additional info about your wacky critic, Ken Burke, along with contact info and a great retrospective song list).  Overall notations for this blog—including Internet formatting craziness beyond our control—may be found at our Two Guys in the Dark homepage.  If you’d like to Like us on Facebook (yes?) please visit our Facebook page.  We appreciate your support whenever and however you can offer it unto us!  Please also note that to Post a Comment below about our reviews you need to have either a Google account (which you can easily get at https://accounts.google.com/NewAccount if you need to sign up) or other sign-in identification from the pull-down menu below before you preview or post.  You can also leave comments at our Facebook page, although you may have to somehow register with us there in order to comment (FB procedures: frequently perplexing mysteries for us aged farts).

 

*Please ignore previous warnings about a “dead link” to our Summary page because the problem’s been manually fixed so that all postings since July 11, 2013 now have the proper functioning link.

 

If you’d rather contact Ken directly rather than leaving a comment here at the blog please 

use my email address of kenburke409@gmail.com—type it directly if the link doesn’t work.

             

OUR POSTINGS PROBABLY LOOK BEST ON THE MOST CURRENT VERSIONS OF MAC OS AND THE SAFARI WEB BROWSER (although Google Chrome usually is decent also); OTHERWISE, BE FOREWARNED THE LAYOUT MAY SEEM MESSY AT TIMES.

             

Finally, for the data-oriented among you, Google stats say over the past month the total unique hits at this site were 47,668.  (As always, we thank all of you for your ongoing support with hopes you’ll continue to be regular readers.)  Below is a snapshot of where those responses have come from within the previous week (appreciation for the unspecified “Others” also visiting Two Guys’ site):