Unbelievable! One-Woman Powerhouse Unveils ‘Summer Camp’ – A Frothy Delight!

The intriguing yet understudied media microcosm that is the Diane Keaton Industrial Complex is one that surfaces once or twice yearly for the past half dozen years. In it, Keaton stars in a comedy film that explores the challenges and joys of aging, surrounded by an impressive cast of Oscar-caliber actors. In these films, Keaton typically portrays a hyperbolized, disheveled, and overdressed version of herself. Among her more notable works are “Book Club” (2018), “Book Club: The Next Chapter” (2023), “Poms” (2019) – a story about friends who form a cheerleading team in a retirement home, and “Mack & Rita” (2022), a tale of a young woman who magically awakens as her 70-year-old self.

Keaton’s performances in these films often echo her delightful role in Nancy Meyers’ “Something’s Gotta Give” (2003). However, rather than being nestled in a lavish Hampton home, Keaton is thrust into progressively peculiar situations (like a ropes course or beach yoga), with diminishing effect. It’s admirable that she continues to work and seems to enjoy it, but this sub-genre is such an oddity that it demands assessment. It’s as if Keaton has constructed her own Adam Sandler-esque film retreat, inviting her acclaimed friends for a leisurely romp while offering a young female director the chance to helm a feature film. The concept is entertaining, but the eventual films leave something to be desired.

The latest endeavor: “Summer Camp”

The most recent project is “Summer Camp,” where Kathy Bates, Alfre Woodard, Dennis Haysbert, Eugene Levy, and Beverly D’Angelo join the cast, under the direction of writer-director Castille Landon. Keaton portrays Nora, a workaholic widow who is coaxed into attending her 50-year camp reunion by her friend, the famous self-help guru Ginny Moon (Bates), and their friend, emergency room nurse Mary (Woodard).

It’s not hard to predict that during their weekend reunion, these camp friends will revel in their reunion, reminisce over past crushes (including Levy, sporting an astonishingly sculpted wig), before old grudges resurface. They’ll each have moments of introspection, come to realizations about their current stagnation, leading to emotional breakthroughs and a refreshed outlook on life.

Occasional moments of enlightenment do arise, only to be extinguished by a prank, a silly mishap, or regrettable food and pillow fights. Landon’s script touches on potentially intriguing topics like Ginny Moon’s exploitation of her friends using her self-help mantras, or Mary’s awakening to her toxic marriage. Unfortunately, only Woodard’s performance stands out, but it’s not given a chance to truly shine. Just when the film appears to be on the verge of depth, a wildcard character spooks a horse or another delivers a wild ad-lib, and we’re back to slapstick.

Landon’s visual approach is bright, flat, and vibrant, characterized by predictable pacing and an overuse of popular pop songs mixed with a generic “comedic” score by Tom Howe. The most compelling design elements in these films are often the wigs (Bates dons an orange bob in this one) and Keaton’s outfits. In “Summer Camp,” she dons her trademark bowler hats and glasses and even does archery in a three-piece suit. One of the film’s few genuinely funny moments, intentional or not, is when Ginny Moon gives Nora a makeover that results in her sporting a full skirt, a crisp white Oxford shirt, and a large belt – a classic Keaton look dating back to “Because I Said So” (2007), something true Keaton fans will recognize instantly.

While Landon’s script has moments of zest, her direction and the performances (with the exception of Woodard’s) don’t do much to stir excitement. “Summer Camp” is mildly interesting at best, but mostly as another installment in the Keaton-verse.

This film review is brought to you by Katie Walsh, a film critic for the Tribune News Service.