A fairy tale for grownups? A grown-up fairy tale? Either way, don’t be fooled: the setting of writer-director Brett Haley’s father-daughter dramedy — a failing vinyl record store in Brooklyn’s Red Hook neighborhood, with frequent stops at a local bar that stays in busi-ness thanks to its reputed “authenticity” — augers prickly hipster irony. But the story is barrel-proof earnest sentiment, straight no chaser. How to keep the eyes from rolling in response? Well, it helps to have Nick Offerman at the center of things as a single dad facing the closing of his beloved business and the departure of his even more beloved daughter — the latest sorrows in a life already darkened by a dead wife and a failed dream. Besides being supremely likable, he is capable of expressing simple, direct emotion (verbally and otherwise) in a way that makes cleverness, irony, and ironic detachment look like childish poses. (For that matter, so is his impossibly sweet co-star, Kiersey Clemons.) But for all the sadness and struggle on display, the film itself is never heavy hearted. Haley’s touch is too light for that, and besides, there are so many Good Fairies about: from the Spotify algorithm that picks their one track for an indie playlist, to the sweet landlady (Toni Collette) who wants to save the store, to the laid-back barman (Ted Danson) who’s quick to bust out The Good Stuff when needed. And happily ever after doesn’t have to mean getting everything you want. (2018) — Matthew Lickona
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