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

Excellent characters with emotional depth. My wife, daughter and granddaughter all enjoyed it...and me, too! Very good movie! You won't be disappointed.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

'Kodachrome' isn't going to win any awards for originality. The family cross-country road trip story has been done before, often better than this. The hook: Ben (Ed Harris), a world-famous photographer, is terminal. Before he dies, he wants to drive from New York to Parsons, Kansas to develop old rolls of Kodachrome film that he's been saving for years. Accompanying him are his nurse Zoe (Elizabeth Olsen) and his estranged son Matt (Jason Sudeikis), who reluctantly agrees to join and only does so because he wants to meet with a band in Chicago and convince them to sign with his label. Each of the three have their demons. Ben is an insufferable jerk, Matt is divorced and dysfunctional, Zoe is also divorced and dysfunctional. But they're all together by choice, so they're still trying.If you think you can tell where this is going, you're probably right. Pretty much scene-by-scene it's predictable. This certainly lessens the impact, but the performances and dialogue will keep you engaged. Credit goes to the actors and the writers for making these characters and relationships feel lived in and real. The tension and acrimony between father and son showcase themselves almost immediately. Their dialogue cuts deeply, and the cruelty of the barbs they exchange startles. Zoe plays the role of conscience, doing her best to help these two hard-headed boys settle their differences before it's too late. As soon as Matt puts his sword away and begins to show a lighter side, Zoe notices, and the viewers notice her noticing. Again, it's not hard to predict where any of this is going.Zoe's character is frustratingly underwritten and underused. But the Matt and Ben relationship is well executed. The hostility feels real and so does the longing to connect, despite what has happened in the past. The film offers some mixed messages about letting go of the past, which haunts each of the main characters in some way. A crucial monologue urges them to move forward, yet they're driving across the country to develop old film and preserve old photos. It's also ironic that a movie that romanticizes film is streaming on Netflix. This film has meaningful messages to share, even if it's not entirely clear about everything it's saying. If you don't mind a formulaic family drama with moving and warm moments, this movie isn't a bad pick.

Films with excessive sentimentality, contrived narrative, and shallow acting are often labelled melodramatic, a term usually reserved for women's film Such descriptors, however, are equally relevant to men's films and Kodachrome (2018)is a case in point.It's a simple plot: a dying father wants his estranged son to take him across America to the last lab that can develop a few long-lost rolls of Kodachrome film. The son is Matt Ryder (Jason Sudeikis), a music recording executive whose career is on the brink. He is angered by the sudden appearance of his father's carer, Zooey Kern (Elizabeth Olsen) who acts as his messenger. His dad Ben (Ed Harris) is an old school alpha-male, a famous photographer, and chronically obnoxious. Matt is bribed into the trip and the journey is predictably unpleasant for all three. Despite its potential as an interesting road trip or a late-life coming of age story, the film struggles on several levels. To even care about the travelling threesome, we need to like or have empathy with the characters but there is nothing that encourages this. Matt is a shallow self-interested wheeler-dealer; Ben is callously uncaring; and Zooey is unconvincing in her commitment to either man.One scene stands out both for its lame attempt to find humour where there is none. The three are hurtling along in a convertible under GPS voice guidance, when Ben gets nostalgic for old-fashion maps. After asking for Matt's phone, he throws it out of the car and grins; so does Zooey, while Matt looks piqued. And this is a highlight scene worth including in the trailer!Some viewers may be drawn to Kodachromeout of interest in the history of photography and the once-iconic Kodak brand. A photographer and a music producer on a road trip could have dwelled on the passing of an era and the onset of the digital age where few images are printed or albums built. There is little serious content in this predictable over-contrived story of guilt, redemption, and a finger-wagging reminder that our lives mean nothing if we do not leave behind loving memories in those who follow.Some filmmakers seem to believe that if human failings can be exaggerated sufficiently it will turn into comedy. This sometimes works, but not here; nor does the film work as drama. Kodachrome falls somewhere between several genres into a space that feels like male melodrama.

Sometimes a film that doesn't mess with the formula fly's by thanks to its charms, smarts and loveably on-song cast, Netflix's Kodachrome is one of those such film experiences.A road trip movie that centres around dysfunctional father and son duo, Jason Sudeikis's failing music manager Matt and Ed Harris's dying photographer Ben and all round meanie Ben, with the addition of Elizabeth Olsen's caring nurse Zoe, as the trio set-off to get Ben's Kodachrome film rolls developed before the dying technology is exterminated, Kodachrome is one of those films that you will have figured out from about 5 minutes in, but it really doesn't matter thanks to its execution and pitch-perfect delivery from its cast.As the mismatched trio set forth on their adventure to Kansas City, we're treated to some fantastically realised and often rather poignant character driven moments, stemming from Matt and Ben's complicated father and son relationship and Ben's increasing feelings towards Olsen's troubled yet compassionate and likeable Zoe.Director Mark Raso keeps things moving at a steady pace as Kodachrome refuses to linger to long in any one place and while never going too deep into the backstories of these relatable characters, we get to know just enough about each of them to ensure that Kodachrome will be watched without a dry eye in the room.Kodachrome's ability to draw out real and tangible feelings from its audience is thanks largely to its aforementioned cast members and while Sudeikis is as good as his ever been as the troubled Ben, its Harris and Olsen that steal the show here.Relishing the chance to get cantankerous, Harris is a blast as the hard to love but hard to hate Ben while Olsen further establishes herself as one of the most likeable and watchable actresses working in the industry today with another fine turn as Zoe.It seems at present that the sibling of Mary-Kate and Ashley can truly do no wrong.Final Say - With great turns from its cast members, a toe-tapping soundtrack and a strong emotional core, Kodachrome is a road-trip worth taking and despite its long foreshadowed ending and adherence to the rulebook, this is one of the best Netflix films to find its way into our households (or cinemas as is the case in Australia) this year.4 thrown away cassette tapes out of 5

The lead actor, known for his comedy, carried this film. We've seen Ed Harris before as the edgy, aging cynic with a heart, and Elizabeth Olsen as the earnest intellectual love interest. But this was the first time most of us have seen Sudeikis in this type of role, and he was terrific.His character's world was falling apart, but he never lost his sense of perspective. He showed genuine appreciation for his aunt and uncle, acquired tolerance for his dad's flaws, and had the ability to notice the girl's true value. Meanwhile the Harris character had enough sense and compassion to devote his final days to his estranged son. Not an easy thing to do for a self-absorbed brat. Both characters grew.Olsen has found a niche for herself as the almost hot, intellectual, potential companion to complicated men. I liked the concept of integrating commentary on traditional photography and analog culture.Yes the plot was fairly predictable and there were no great statements about life that made a lasting impact. Other than that great art comes from unhappiness, but we've heard that one before, and it's not always true. I never even considered pressing the stop button. That's remarkable for me with Netflix. Enjoy.