Jules is the tale of Milton (Ben Kingsley), an elderly widower living in a small town in rural Pennsylvania. He faithfully attends his town hall meetings, and he steadfastly commits to his agenda of reimagining the small town’s slogan. Save for his busy daughter, Denise (Zoë Winters), Milton is an introverted man who absent-mindedly entertains passive connections with other town hall attendees, Sandy (Harriet Sansom Harris) and Joyce (Jane Curtin). The aptly paced film kicks into gear when Milton hears a loud crash in his back yard. When he goes to see what the cause of the crash is, Milton sees a downed UFO half buried in his garden. Eventually, Milton befriends the flying object’s survivor and lone traveler (Jade Quon), an alien lifeform in which he, along with the only two people who believe him, decide to call Jules.
Jules is a movie with a simple, one-joke premise that works. A great deal of the film’s success is due to Kingsley’s performance. From the opening moments of watching Milton demurely assert his beliefs for a better town slogan to the disdain of beleaguered council members and citizens, we see Kingsley meld into the character. You immediately tap in because Kingsley is tapped in, ensuring that wherever the ride goes, you are at least interested in going along. Another positive addition is the co-starring tag team of Harris and Curtin. Both actors lend credence and plausibility to the film by delivering earnest and funny performances. Harris and Curtin do well with the material, playing against the stereotypical archetypes as which both characters are introduced. They become multi-dimensional assets to the story, carrying the narrative forward during the times when Kingsley’s one-joke Milton starts to waver.
The smalltown setting adds to the charm of the film. The scenery never wrestles with the story, keeping the focus on character and not imagery. The design of Jules is simplistic and non-threatening, allowing the comedic absurdity of Milton and company’s actions to an air of altruistic naivety instead of absurdity. These decisions enable the film to maintain its inviting charm, ushering in an observant curiosity that keeps your attention. Although Jules seems to be a quiet and observant, being mostly fixated on repairing its ship, the film’s unassuming script by Gavin Steckler does come with a few surprisingly funny and grisly sci-fi surprises. The film holds up well until it falters during the tone-shifting climax. Director Marc Turtletaub’s insular, adult tale veers from a sweet, introspective heart-warmer to a borderline daffy comedy caper that doesn’t serve the first third of the film as well as it deserves.
Jules has the appeal of a Saturday matinee on a rainy day. It’s not a crowd-pleaser, but it has the potential to become someone’s personal go-to when they want a “pick me up” or to escape from the weight of things. The film is well-acted and thoughtfully written. And until the final 10 minutes, it sits comfortably in its identity. Jules’ heart lies in its performances by Kingsley, Harris and Curtin. It relies on the touching moments of the aging characters bonding with Jules during therapeutic sessions of confessions, fears and regrets. Although there is no emotional response during these shortened monologues, the scenes convey the elderly grasping for connection with anyone who will listen without disdain or judgement, as they are gradually thought of as burdens in their older age. This may not resonate with the younger generation, but the idea presented will strike a chord with anyone who has experience struggling with these feelings.
Jules is escapist cinema for adults. It doesn’t stick around too long to wear out its welcome. It’s a well-made, sure bet of a film that may not make any year’s best lists but may be considered a curious gem with the likes of past quirky favorites such as 2007’s “Lars and the Real Girl” or the 2022 sleeper “Brian and Charles.” It has great moments and a subtle underlying message that doesn’t go out of its way to make a point. If you’re looking for a distraction from the regular popcorn fare, but still crave a little bit of “weird” in your experience, the quirky and charming Jules is a safe bet.
Photo courtesy of Bleecker Street
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