As the well-worn adage goes, sometimes truth can be stranger than fiction. The story of Thelma Post is certainly a fascinating one – after falling victim to a phone scam that robbed her of $10,000 of her savings, 93-year-old retiree Thelma chose to not simply allow the perpetrators to get away with such a despicable act, but rather decides to venture out and retrieve the money herself, not being particularly concerned about the danger posed with a nonagenarian setting out into the seedy underbelly of her city to get revenge on those who tried to take advantage of her gullible nature, and have likely been doing the same to other people as an easy way to make money. This certainly sounds like a premise plucked straight from the mind of the most eccentric comedy writer, which is why the fact that it is steeped in reality makes it so incredibly outrageous, proving that sometimes the most unbelievable events are those that happen in real life rather than being envisioned by those with wild imaginations. Her story serves as the foundation for Thelma, in which Josh Margolin makes his directorial debut by basing an incredibly compelling film around this fascinating woman’s efforts to retrieve what is hers and prove that she is not going to be the victim of anyone’s efforts to take advantage of the most vulnerable people. This proves to be one of the year’s most enticing and captivating films, with Margolin proving to be an exciting new talent, particularly for how he spins a trivial, almost anecdotal piece of trivia into an enthralling, deeply entertaining comedy that is as hilarious as it is heartfelt. A passionate and enjoyable work that dares to be different while still aiming to appeal to as wide an audience as possible, Thelma is nothing short of a comedic spectacle, a film that aims high and plays to the rafters, and emerges absolutely victorious by the end, becoming one of the most covertly compelling comedies of the past few years, and a film that seems destined to become a cherished classic, for several different reasons that become evidently more clear the further we venture into this delightful and entertaining world.

We often find that when a filmmaker is presented with a true story that has the potential to be developed into a film, one of the most important decisions is the specific approach, both in terms of genre and overall execution. Thelma is rooted in a true story that could have gone in many different directions – it could have been a straightforward drama, or something much more tender and almost melodramatic. Yet, Margolin comes across as someone who isn’t interested in adhering to conventions and instead takes the opportunity to develop this story into a fascinating combination of comedy, action and family drama, the film becoming a delightful smorgasbord of ideas that see the director taking many bold risks, knowing that it will pay off exceptionally well. The results speak for themselves – Thelma is a wickedly entertaining and brilliantly off-the-wall comedy that is as outrageous as it is heartwarming, which is not something we find very often. The key to the success of the film is that it was clearly designed to be a lighthearted affair, but it intentionally doesn’t surrender to the joke, and instead goes the complete opposite direction, playing a lot of its more offbeat moments as completely straight, knowing that it will only make the scenario funnier and more subversive. It never winks at the audience or makes it obvious that it knows its comedic potential, and instead plays like a legitimately serious action film in the moments where it is necessary. Obviously, everyone knew the approach that was being taken (this is certainly not a case of the tone being changed in the editing room), but rather they committed wholeheartedly to the premise and were thoroughly dedicated to making sure that it wasn’t just a trivial pastiche, but rather a well-crafted film on its own terms. The wackiness is a tool used by the director and his collaborators to tell this story, rather than the sole component guiding the narrative, and the result is an absolute spectacle of comedy and action that actually manages to be far more thrilling than even the most intense contemporary action films. The different blending of elements creates an unforgettable, layered film that is unpredictable and daring, which seems to be the entire purpose behind approaching this material and finding new ways to surprise the audience.

If there is ever a need to provide an immediate example that Hollywood has made considerable leaps forward in terms of appropriate casting, we can point to the fact that a decade or two ago, the titular character in Thelma would most likely be played by a much younger actor that went through a rigorous transformation to play this 93-year-old character. Instead, Margolin takes a risk and actually cases someone age-appropriate, with the legendary June Squibb taking the role and proving to be an absolute riot in the part. For decades, she has been a reliable supporting presence, and was even something of a revelation in Nebraska just over a decade ago, which felt like a major breakthrough for someone who had been working without recognition for almost her entire professional life. Then along came this film, which provided her with her very first leading role, at the age of 94, proving that it is never too late to have a major moment. It isn’t only the fact that she is well-cast based on her age, but also the fact that she is such a brilliant actor, someone who always commands our attention – Thelma is a film made for those of us who always loved seeing her appear in a small role, and yearned for an opportunity to see her lead a film of her own. Like any great character actor, Squibb refuses to neglect to make the most of absolutely every moment – every scene finds her firing on all cylinders, and she turns in maybe the most captivating leading performance of the year, simply because she puts in an outrageous amount of effort to play this part, rather than just having the film edited around her. She is joined by the late Richard Roundtree in one of his final performances, and much like Squibb, he delivers a layered, captivating performance that is formed around much more than just the fact that they’re older actors in a genre that is not normally populated by them – and yet, both of them prove to be exceptionally exciting leads that carry the film and make it their own, something that is ultimately the most intriguing aspect of the entire project, and the main source of its extraordinary success.

Yet, beneath the surface, we find that Thelma is much more than just an off-the-wall premise (even if this is the element that we remember the most, and which is the main aspect of allure) and that it has a solid foundation that is rooted in something much deeper than just the unexpected delight of seeing a pair of senior citizens setting off to get revenge and finding themselves in a few challenging situations. It is clear that Margolin was interested in exploring more than just the surface-level premise, and infused the film with a lot of very endearing elements that make it richer and more compelling. We soon come to learn that Thelma is a film centred around themes such as ageing and family – the relationship between the titular character and her grandson in particular is very touching, and may be overwhelming for anyone who had a strong relationship with their grandparents, especially those of us who have lost them over the years. There is so much authenticity to how the film perceives the connection between people and their grandchildren, and the entire impetus of the story is about an old woman who puts everything at risk to help her grandson out of what she believes is a precarious situation. The film is never mocking or aiming for the low-hanging fruit, and it manages to be surprisingly earnest for the most part. The tone is simple but effective, and it actively avoids being overwrought or heavy-handed, being sentimental without ever coming across as manipulative. It does help that the more tender moments are supported by scenes of wall-to-wall eccentricity, which can create a more dynamic, shifting atmosphere that doesn’t hinge on one particular idea or tonal approach to be effective. A lot of the brilliance in Thelma comes from the unexpected elements, and we gradually see that the film unfurls into a delightfully offbeat comedy that has a lot more meaning, and doesn’t dwell too heavily on its more eccentric premise and instead offers a lot of charming commentary to accompany the more peculiar aspects, creating a multilayered comedy that knows the only way to keep the audience invested is to give us something we have rarely seen in the past, even if it means combining many different elements and presenting them in an unorthodox but truly exciting manner.

Thelma is an absolute delight of a film, and based on the ecstatic reception it has received from both audiences and critics, this seems to be a common sentiment. It’s not often we find a film so extensively appealing and pleasing to nearly the entire audience, which only proves that it is still possible to find ways to create something almost universally entertaining. It is true that a lot of goodwill associated with this film comes from the wacky storyline and the fact that it is just the combination of various well-liked elements that work together well, but it still manages to be wonderfully endearing all on its terms, without needing to pander or propose itself as some major daring work. Instead, it moves at its own steady pace and becomes nothing short of an absolute delight in terms of both concept and execution. There is a very real (and frankly quite wonderful) possibility that Thelma will be able to stand alongside any of the gonzo action films starring the likes of Jason Statham or Sylvester Stallone since once you remove the age-related element on which the film has been marketed, you find that it is a brilliant, enthralling story of revenge and retribution, featuring a fearless protagonist intent on taking on the villains and emerging victorious by any means necessary. Both an entertaining homage to the action genre and a heartfelt tribute to the older generation, who are often seen as being feeble and helpless, Thelma is one of the year’s most captivating and surprising films – it keeps us entertained from its first moments, and its handling of tone and emotion is only additional merit that makes this such a wholeheartedly entertaining affair, and a film that will hopefully stand the test of time as proof that taking a few bold risks can ultimately result in something extraordinary.