TOMEGIRLS

 Opening in theaters this weekend:

Book Club: The Next Chapter--"Best friend tough love."

Several times throughout this sequel to the 2018 comedy, one of the characters uses this phrase before offering a critique, usually not terribly tough, of one of the other three. In that spirit, I'm tempted to offer the returning quartet of leading ladies--Candice Bergen, Jane Fonda, Diane Keaton and Mary Steenburgen--some unsolicited movie critic tough love: cranking out this sort of girls-night-out fluff shouldn't be all they do in the valedictory stretch of their careers.

But I can't do it. These four women are all great stars, first-rate actors and classic screen beauties. In some cases they won their chops gradually--Bergen had a pretty rough start, for instance, but eventually developed killer comic timing--while others, like Keaton, seemed to find a one-of-a-kind persona early on. Each of them, however, has a splendid body of work to be proud of, and if now they want to make money doing relatively harmless, undemanding fare like this, they've earned the right.

That said, this one is really fluffy. But so what? There's a sense in which movies like this are critic-proof. As with 80 for Brady, another emeritus chick flick from earlier this year (also featuring Fonda), the stars here are such good company that the feeble plotting and rambling dialogue and platitudes about pursuing your dreams at any age become a shared smirk between them and the audience.

You may recall the line up, lifelong friends who stay in touch through a book club: Keaton's character, conveniently named Diane, is a reserved widow who defaults to finding reasons not to have adventures and has never scattered her husband's ashes. Fonda plays Vivian, a successful hotel magnate who has never married. Part One linked Vivian up with Arthur (Don Johnson) and Diane up with Mitchell (Andy Garcia).

Steenburgen plays Carol, a married chef; here her husband Bruce (Craig T. Nelson) has had a heart attack and she's policing his bacon intake. Bergen rounds out the quartet as Sharon, the long-divorced and still single retired federal judge.

Last time around the ladies were reading Fifty Shades of Grey, which rather embarrassingly stirred them up erotically. This time, after a long COVID lockdown, their selection is Paulo Coehlo's The Alchemist, which helps inspire them to go on a trip, a bachelorette party for Vivian, who has at last agreed to marry Arthur. So the four of them tour Italy; first Rome, then Venice, then Tuscany.

You can imagine the results, again directed by Bill Holderman from a script he co-wrote, again, with Erin Simms. The ladies cavort, from montage to montage, making low-hanging-fruit lewd jokes about classical sculptures, or trying on wedding dresses. They get robbed, and the case is handled without much urgency by a venerable and impressively unformed officer of the polizia (played by Seven Beauties himself, Giancarlo Giannini). They flirt with guys, although Sharon being the only fully unattached one, she's the only one that gets to fully cut loose in this way. And through it all, they drink wine. Lots and lots of wine.

Like many other directors, Holderman leans hard on the Italian locations, and the movie looks great. It sounds great, too; the soundtrack has Bette Midler singing "Mambo Italiano" and Italian-language versions of pop hits from The Monkees to Hall and Oates. And it's hard to completely dismiss any movie that features Hugh Quarshie singing "Gloria," in Italian, accompanied by Mary Steenburgen on the accordion.