Faced with sudden doubts about her marriage, a young New York mother teams up with her legendary playboy father to stalk her husband.
Credits: TheMovieDb.
Film actors:
- Felix: Bill Murray
- Laura: Rashida Jones
- Dean: Marlon Wayans
- Fiona: Jessica Henwick
- Vanessa: Jenny Slate
- Maya: Liana Muscat
- Theo: Alexandra Marie Reimer
- Theo: Anna Chanel Reimer
- Grandma: Barbara Bain
- Amanda: Juliana Canfield
- Diane: Alva Chin
- Officer O’Callaghan: McKellar
- Musto: Mosto Pelinkovic
- Nanny 1: Zora Casebell
- Music teacher: Melissa Erico
- Jenna: Zoe Bullock
- The Chase: Following Sui Miracle
- Kara: Elizabeth Gandy
- Mother: Jules Wilcox
- Mandy: Ximena Lamadrid
- Blonde: Kelly Lynch
- Pianist: Earl Ross
- Cocktail Party Guest 1: Catherine G. Blair
- Cocktail Party Guest 2: Anne Goldluck
- Lady 1: Walter Rudis Barker
- Woman 2: Nancy Ozelli
- Cops 2: Chris Senatimpo
- Security Officer: Cliff Samara
- Waitress: Nadia Dune
- Kelly: Nadia Dajani
- Host: Spice Green
- Milo: Grayson Eddie
- Model Mom: Charlotte D’Alessio
- School Mom: Kim Hill
- Miss Mindy: Evangeline Young
- Guitarist: John Troppe
- Young Laura (voice) (uncredited): Romy Mars
Photography team:
- Visual Effects Supervisor: Lance Ranzer
- Set Designer: Guy Kozak
- Production Assistant: Katie Tuhey
- Executive Producer: Francis Ford Coppola
- Location Assistant: Christian Powell
- Producer: Sofia Coppola
- Executive Producer: Roman Coppola
- Executive Producer: Mitch Glazer
- Producer: Uri Henry
- Actor: Courtney Bright
- Location Scouting: Eric Papa
- Art Department Coordinator: Mariela Navarro
- Casting: Nicole Daniels
- Editor: Sarah Flack
- Production Design: Anne Rose
- Set Decoration: Amy Beth Silver
- Unit Production Manager: Caroline Jaczko
- Musical Director: Christian Mazalet
- Costume Design: Stacey Batat
- Musical Director: Deck d’Arcy
- Executive Producer: Fred Russ
- Director of Photography: Philippe Lessaud
- Music Director: Thomas Mars
- Music Director: Laurent Blancowitz
- Sound re-recording mixer: Richard Beggs
- Stunt Coordinator: Brian Smyj
- First Assistant Director: Curtis Smith
- Production Supervisor: Richard Keithan
- Script Supervisor: Eva Z. Cabrera
- Second Assistant Director: Brad Robinson
- Art Director: Jennifer Dehghan
- Stunts: Nitasha Bumbry
- Stunts: Declan Mulvey
- Stunts: Chris Senatimpo
- Stunts: Billy Dahl
- Stunts: Mike Martella
- Stunts: Jeffrey Lee Gibson
- Stunts: James Northrup
- Stunts: Freddy Esposito
- Stunts: Alex Ananostidis
- Stunts: Jane Egan
- Stunts: Mark Odgers
- Stunts: Clint Reynolds
- Stunts: Derek J. Stotts
- Stunts: Mick O’Rourke
- Stunts: Scott Kelly
- Stunt Performance: Dean Marrazzo
- Stunts: Ann Carlton
- Stunts: Robert Nagle
- Stunts: Turner Smith
- Stunts: Noah Schultz
- “B” Camera Operator: Vince J. Vennetti
- Production mix: Ken Ishii
- Boom Operator: Anguibe Guindo
- Key Person: Ted Lehane
- Grip: Igor Ibrazic
- Grips: Austin Behan
- Grips: John Halligan
- Best Electric Boy: Silvio Marfe
- Second Assistant “A” Camera: Jordan Levy
- Rig Lighting Engineer: Michael Gallart
- Still Photographer: JoJo Whilden
- Lighting Engineer: Jack Coffin
- Dolly’s Grip: Wesley Battle
- First Assistant “A” Camera: Rick Gioia
- First Assistant “B” Camera: Toshiro Yamaguchi
- Best Boys Grip: Ben D’Andrea
- Grip: Lee Walker
- Real Estate Guru: David Schanker
- Assistant Property Supervisor: Joanna Leavens
- Special Effects Coordinator: Benji Harris
- Makeup artist: Christine Hugers
- Hairstylist: Steve Darius
- Assistant Costume Designer: Cailey Breneman
- Hairstylist: Frances Hannon
- Costume Director: Mary Seifts
- Make-up artist: Christine Keyon
- Main Costume: Jessica Calderon
- Set and costumes: Marie Caprari
- Set Costumes: Erica Suzanne Scott
- Head of Hair Department: April Schuller
- Hairstylist: Theresa Marra-Siliceo
- Production Coordinator: Holly Pilch
- Payroll Accountant: Patricia Porter
- Assistant Production Coordinator: Mary Hodge
- Set Buyer: Benjamin Bridges
- Supervising Dialogue Editor: Tony Martinez
- Main Costume: Joanna Brett
- Main makeup artist: Jackie Risotto
- Extra: Grant Wilfley
- Assistant Location Manager: Tom Sexton
- Extra Casting Assistant: Allison Hall
- Production Accountant: Shellie Gillespie
- Main hairstylist: Claire Mahony
- Assistant Location Manager: Scott Ferlisi
- Transportation Vice Captain: Damon Smith
- Second Assistant Director: Sussan Cordero
- Venue Manager: Christy Mullen
- Costume Coordinator: Laurette Partridge
- Makeup Department Supervisor: Evelyne Noraz
- Unit PR: Brooke Ensign
- Foley artist: Heikki Kossi
- Sound Editor: Roy Walderspooger
- Visual effects supervisor: Dan Bernstein
- Colorist: Damien van der Cruyssen
- Foley Editor: Lee Salevan
- Construction Coordinator: Richard Herblank
- Transport Captain: Edward Devereux II
- Foley mixer: Kari Vähäkuopus
- ADR Voiced by: Dane Fink
- Additional Editor: Janet Gaynor
- Assistant Sound Editor: Eric McAllister
- ADR Voiced by: Bruce Winant
- Dialogue Editor: Eliza Paley
Movie review:
- SWITCH.: Maybe my expectations were too high, but I wanted more than the product we ended up with. As much as I love “On The Rocks,” I can’t force myself to say that it’s just cute and sweet – and while it further enhances my love for Bill Murray, for Rashida Jones it just makes I shrugged.
——Jesse Fenton - Read Jesse’s full article…
https://www.maketheswitch.com.au/article/review-on-the-rocks-another-sophia-coppola-and-bill-murray-collab-with-a-splash-of-water - Manuel São Bento: If you like reading my spoiler-free reviews, follow my blog @
https://www.msbreviews.com - Before I get into the movie itself, I need to give some appreciation for Sofia Coppola’s career to date. With such a famous filmmaker as her father (Francis Ford Coppola, famed director of classics such as The Godfather trilogy and Apocalypse Now), Sofia was able to create a unique career career and avoid condescending comparisons to her father’s success. Most people in her situation would succumb to the pressure and succumb to complete failure. Fortunately, Sofia began to express her unique talents early on, and landed one of the best romantic comedies of the 2000s, Lost in Translation (her second feature film). So I was actually very interested in the simple premise of On the Rocks.
- The latest in Sophia’s cinematic history continues one of her signature traits: a light-hearted film about a not-so-light subject. The main narrative follows the answer to a binary question: Is Laura’s (Rashida Jones) husband Dean (Marlon Wayans) having an affair? These two possible outcomes don’t allow the movie to pull off any impactful surprises with this storyline, but Sophia has written a script filled with surprisingly charming character interactions, primarily between Laura and her father Felix (Bill Murray). The beginning of the film focuses on Laura’s daily life, developing the character in an unusually smooth way.
- The first few minutes without Felix in the picture perfectly capture Laura’s mental state. Her feelings, thoughts, doubts, everything is shared with the audience through clear exposition or the subtle delivery of the brilliant Rashida Jones, whose performance is nuanced and extraordinarily rich. Then, along comes the phenomenal Bill Murray. Felix is a charming and complicated old man who can’t be around a woman without chatting her up or saying stupid things like “I guess I’m deaf to women’s voices.” His relationship with his daughter seems to be very close to the point where Laura believes his wild conspiracy theories based on exaggerated facts.
- This is my first problem with the movie. Until the third act, I can describe “On the Rocks” in one word: real. Every scene, dialogue, or action is delivered with such authenticity that I would be hard-pressed to find a sequence that didn’t need to be in the movie. At the end of every scene, the audience always learns something new, whether it’s about a character, an event, or just a detail about someone’s life. However, the final half-hour puts the protagonists (father and daughter, to be clear) on a path that crosses the line of common sense and made me wonder if Laura would actually do such a thing, based on what the movie hadn’t shown up to that point. Show her personality.
- However, this is not a problem. The real issue is the revelation of the final scene, which raises some questions about the father-daughter relationship. I can’t spoil it, but Sofia establishes Felix as a funny, funny, old guy who isn’t taken seriously and makes some jokes that maybe he shouldn’t. However, I partially lost my empathy after discovering certain parts of his life and how it affected his family. This reveal may be the only somewhat surprising aspect of the film, not because it’s shocking (the film clearly goes in that direction), but because the audience’s attention is focused on finding out whether Dean cheated on Law pull.
- This new development makes me question how Laura can be so close to her father without being shown on screen how she handles the situation, especially at the end when the subject returns to her life. Don’t get this broad interpretation wrong, I still loved the movie! I can’t deny the impact of this negative issue, but it far from ruins the film. It’s beautifully crafted and all technical aspects complement each other. Sofia controls the pace and tone of the film perfectly.
- Still, Rashida Jones and Bill Murray steal the show. Both perform brilliantly, with effortless dialogue that fully embodies the personalities of their respective characters. Marlon Wayans was also very good despite not seeing much playing time. Due to the short running time, the premise was more charming than I expected. I felt hugely invested in the search for answers to the big questions, and although the third act was partially disappointing, the execution of this storyline was excellent.
- Finally, On the Rocks is another success for A24 and Apple TV+. Sofia Coppola continues her already remarkable and unique career with another film defined by her signature character. It depicts a serious subject through a lighter lens, has charming character interactions, and ends up being more engaging than expected (but still a bit predictable and formulaic). Rashida Jones and Bill Murray are truly impressive, with a palpable chemistry between them that ultimately carries the entire story on their shoulders. It doesn’t feel like a movie. It feels like a real story, with real people…at least until the third act, when an over-the-top, hard-to-take-in sequence leads to a questionable and hasty resolution of the father-daughter relationship. statement. I still recommend it as a weeknight choice because of its short runtime and overall entertaining story.
- Rating: B-
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