Tag Archives: family drama

TIFF18: American Woman

At first glance, Deb (Sienna Miller) is all-too-easily dismissed. She’s a former teen mom turned grandmother at 31. She’s a mistress whose hot date turns out to be a trip to a sleazy motel room, where she is handed a plastic bag containing either dollar store lingerie or a slutty devil halloween costume (same difference, really). The next morning, we see that she is waking up alone in her own bed, suggesting the motel room was paid by the hour.

At that point, we’re about five minutes into American Woman, and you’re ready to write Deb off.

But don’t. Don’t you dare.

AmericanWoman_02Because Deb is worth more than she even knows, which she stars to discover after her daughter fails to come home one night after a date with her basement-dwelling baby daddy.  A loved one’s disappearance must be life-shattering. Miller lets us see the dissapearance’s drastic effects on Deb in such a restrained and measured way that Deb’s resulting character growth is organic, believable, and most impressively, almost invisible at first. Deb’s evolution is captivating, and the Deb we know by the end of the movie is at once the same core character and a woman whose outlook and attitude have evolved beyond anything I could have ever expected.

I cannot overstate the magnificence of Sienna Miller’s performance in American Woman. She is magnetic and conveys a mix of strength and vulnerability that is as authentic a performance as I can remember. And while Miller is the standout, he excellence is almost always matched by the rest of the cast, including Christina Hendricks as Deb’s sister, Amy Madigan as Deb’s mom, and Mad TV’s Will Sasso as Deb’s brother-in-law. Deb is rightly the focal point but it’s great that the strong supporting characters each get the chance to shine.

The gauntlet thrown down by the cast’s fantastic performances is picked up by those behind the camera, and they are up to the task. Brad Ingelsby’s script is smarter than it has any right to be, discarding obvious answers on a regular basis, and showing off by giving effortless depth to secondary and tertiary characters (including turning an obvious villain into an earnest guy deserving of our sympathy). Director Jake Scott uses care and moderation rather than flash and sensationalism, particularly in a crucial scene at the film’s climax, proving beyond any doubt that less is more. Scott consistently makes brilliant choices even in small details, such as by using visuals and settings to indicate the passage of time, rather than title cards.

The result of all of this individual brilliance, naturally, is a standout character study that can hold its own against anything that TIFF18 has to offer (which I can say with certainty since I saw If Beale Street Could Talk and Roma on either side of it). American Woman is as smart, rewarding and satisfying a cinematic experience as anyone could ask for, making for a film that you absolutely do not want to miss.

Advertisements

TIFF18: White Boy Rick

The trailers for White Boy Rick deceived me. I expected a frenetic, over-the-top throwback full of 80s excess, rollerskating, and outlandish behaviour as fifteen year old Ricky (Richie Merritt) breaks into the Detroit crime scene in 1984, assisted by his gunrunning dad (played by the madcap Matthew McConaughey). I expected a dark comedy. I hoped for Scarface, the teenage years, with lots of action and quotable dialogue. I would have settled for half-assed ripoff of Boogie Nights, with a naive rising star breaking into a criminal enterprise.

But instead, I got a melancholy family drama about a group of deadbeats with whom I had no interest in spending any time at all. Not as friends, not as neighbours, and certainly not as the subjects of a two hour feature. Ricky’s story is not a story that deserves to be told on screen, and that’s fatal. I never could bring myself to care about him or his family, not even a little bit. That is in no way the fault of Merritt or McConaughey. It is also not an issue arising from the screenplay or the direction. It’s more basic than that: there was no saving these characters. They were simply irredeemable.whiteboyrick_01

It’s unfortunate because there is a story underlying White Boy Rick that does deserve our attention: the fact that the 80s “War on Drugs” was primarily a scheme to keep America’s prisons stocked with young black men. And, as a bonus in many states, strip them of their right to vote once convicted of a felony, which many might even plead to if they were locked up and mistreated for long enough prior to trial.

That is a story that has been much better told by Ava DuVernay’s 13th (which is definitely worth your time). That is also a story that should probably not be told from a white family’s perspective, as doing so suggests that mandatorylife sentences without the possibility of parole for crack dealers are only a problem when white people start getting locked away too.

Yet, here we are. Ricky’s life is onscreen for you to shake your head at, if you so choose. But you have much better options available to you in the coming weeks (such as The Predator and Life Itself, to name two I saw this past weekend at TIFF). Then again, if you are about bad choices, like choosing White Boy Rick over either of those, then maybe you will find the movie more enjoyable due to having something in common with little Ricky and his family, who never met a bad choice they didn’t like. Yes, I just went there, but it’s for your own good.

SXSW: Boundaries

Laura is making her therapist proud by making and enforcing some strong, much-needed boundaries with her father. She’s also lying to her therapist about plenty of things, including the actual number of rescue animals currently residing in her home, and in her purse on the floor of the therapist’s office. But Laura’s father Jack is very good at testing boundaries, and right now, he’s a man in need. His retirement residence is kicking him out, and if Laura is unprepared to house him in the home she shares with her teenage son Henry, the least she can do is drive him cross-country to her sister’s home in L.A.. Right?

MV5BMTY5NzMzNTcwM15BMl5BanBnXkFtZTgwNDg0MTc3NDM@._V1_Laura (Vera Farmiga) loves her son, and her pets, and against all odds, her father. Her son is a sensitive, gym-hating, naked-picture-drawing type (Lewis MacDougall) who’s just been permanently expelled from school. Her rescued pets are a rag-tag, flea-ridden circus of mange, as pathetic as they are cute. Her dad (Christopher Plummer) is a drug dealer and a rapscallion through and through, and terminally charming.

The cast works together as a dysfunctional unit. Director Shana Feste puts together a trio that doesn’t seem like a natural fit but somehow it works – perhaps because they’re all sort of loners in their way, much like the abandoned animals they pick up along the way, and they find a reluctant companionship that turns into some genuine, heartening chemistry onscreen. Toss in a dash of Bobby Cannavale, a splash of Christopher Lloyd (and Christopher Lloyd’s balls, as Farmiga was quick to recall, and not without a blush), and sprinkling of Peter Fonda…my goodness, it’s a bowl of mixed nuts,  more salty than sweet, but it went down mighty well.

I saw this at SXSW when I’d also just seen You Can Choose Your Family, and made me think: good lord, these directors have daddy issues. But I guess all art comes out of some frustration, some need to prove something to someone. But since father issues are nearly universal, I suppose these films feel at once familiar but also just removed enough that we can laugh at them, enjoy a moment of catharsis because someone else has it just a little tougher than you. Collectively the audience will laugh, and will emit a sigh of relief for having survived this awkward family trip.

 

 

 

Thanks for keeping up with our frantic SXSW coverage. We’re posting so frequently you may have missed Sean’s great review of The Director and The Jedi, or my review of the truly astonishing Blindspotting, or Matt’s review of the documentary From All Corners.

Wonder

Auggie is a very special little boy. Born with a genetic condition called Treacher Collins syndrome, Auggie’s facial deformities are the least threatening of the complications but they’re what make him look so different. He’s most comfortable when he’s wearing an astronaut helmet that keep prying eyes and hurtful comments at bay. For the first ten years of his life he’s had countless surgeries and has been schooled at home, but he’s about to start middle school for real, and a classroom of students is more daunting to him (and his mom) than any operating room.

Wonder is based on the wonderful YA novel by R.J. Palacio, which you should, should, should definitely, definitely read. But happily, this is a rare case where the movie does MV5BMTIwOTUwNTEtYzMwNS00N2YxLTg0ZWYtNzM0YzVjOWYwZWM5XkEyXkFqcGdeQXVyMjg5NDY3Mw@@._V1_SY1000_SX1500_AL_the book justice. And even happilier, the movie doesn’t suck, period, which was a major concern of mine. It seemed far too easy to just let it coast on its sentimentality. But while director Stephen Chbosky doesn’t have a lengthy track record to ease my worrisome nature, he does have one credit under his belt that’s all I really needed to hear: he adapted and directed The Perks of Being a Wallflower, which he’d also penned.

Wonder is a much different beast, however. First, it necessarily involves casting the perfect but very young star. A bad child actor in a lead role will ruin the whole thing, and in this case you have to find someone who can convey a whole range of complicated emotions from underneath a mask of scars. Chbosky went with Jacob Tremblay who’s already proven his chops with the most trying and powerful of roles in Room; Chbosky calls him “a once-in-a-generation talent” and I think he may be right. But we can’t discount the fact that Chbosky surrounds Tremblay with talent.

The secret to Wonder’s success, both in novel and in film, is that yes, it tells the story from the perspective of a sweet and brave 10 year old boy who’s been through hell and is still going through it. BUT it also shares the stories of the people around him. His mother Isabel (Julia Roberts) has had to pause life itself in order to become his warrior. His father Nate (Owen Wilson) copes with humour and cries by himself. His big sister Via (Izabela Vidovic) feels like a mere planet revolving around Auggie, the sun. A disease like Auggie’s is a family affair, energy-stealing, all-encompassing, leaving no one unaffected. And no one likes to complain about that because it seems petty in the face of something life-threatening, but it’s true and Palacio’s book as well as Chbosky’s film really add legitimacy to a family suffering as a unit. Even Auggie’s only friend is untouched – being his friend is a social sacrifice most 10 year olds won’t be strong enough to make. Another formidable young actor, Suburbicon‘s Noah Jupe, lands and aces this role.

Wonder is not about the suffering though; that would be too easy. It’s about overcoming that suffering, in ways that are clunky and ungraceful and sometimes accidental. That’s why Auggie’s family seems so real, and why so many real families with sick kids can relate to the material. It’s emotionally raw stuff and you may find that it touches a nerve. But it’s got a takeaway message of positivity that’s irresistible, and will help justify the numerous soggy kleenexes in your lap.

The Meyerowitz Stories (New and Selected)

The Meyerowitz family is fractured. Danny (Adam Sandler) is a self-described ‘extremely good parker’ with little else on the horizon. A loving dad and devoted house husband, his life is in transition now that he and his wife are separating and his only daughter is off to college. Moving in with his estranged father Harold (Dustin Hoffman) seems like an opportunity to get to know him, except it turns out that feeling’s not mutual.

Harold abandoned Danny and daughter Jean (Elizabeth Marvel) in favour of a new family when they were quite young. He’s never acted as a real father to them and even now he’s mostly only interested in what they can do for him. Not to mention the complicating factor of his alcoholic wife Maureen (Emma Thompson) who MV5BN2M5YzA2ODAtOTNmMi00MGYyLWIxYWYtY2M2NmE4ZGE1ODQ1XkEyXkFqcGdeQXVyNjAwODA4Mw@@._V1_inserts herself into cramped dynamics like she’s determined to put the Wicked back into Step Mother. Both throw out the red carpet when favoured son Matthew (Ben Stiller) makes a reluctant appearance. Harold has fostered a competitive streak between his children by different mothers but they otherwise aren’t close. So when their father’s life and career necessitate them pulling together, it’s a little awkward. Actually, it’s extremely awkward and kind of heart breaking. Because they aren’t bad people, they’ve just been starved of their father’s love and have no idea how to act like a family now that there’s no real chance that things will ever be different.

This being a Noah Baumbach work, the comedy isn’t broad, but it is damn funny. When I finished it (a Netflix original) I immediately wanted to restart it, just to catch all the amazing little asides and offhand jokes that are so casually but expertly tossed out.

Although Harold is a self-absorbed contrarian, he’s not quite despicable in the hands of Dustin Hoffman and his grizzled white beard. Adam Sandler gives a nuanced performance that’ll make you believe in him as an actor once again – and it’s been a good long while since that’s been true. Actually, there are loads of big names, some in pretty small roles, but everyone is kind of spectacular in this. Having recently had no patience for Golden Exits at the New Hampshire Film Festival, I wondered if the our film lexicon was finally full to bursting with movies about privileged white people whining about their lives. But the family dysfunction in The Meyerowitz Stories feels relatable and authentic and the characters are trying too hard to be decent people in the face of it all: I kind of loved it. It’s amazing how many years later childhood resentments and jealousies can bubble to the surface, but this is the kind of movie that makes us all feel “Same” in one way or another, and it just feels good and cathartic that we aren’t alone.

 

 

Golden Exits

A beautiful young Australian woman named Naomi (OF COURSE she’s named Naomi) movies to New York City to fuck with the marriages of two different couples. Okay, officially Naomi (Emily Browning) is there to work and learn from a boring archivist named Nick (Adam Horovitz – yes, THAT Adam Horovitz, a real live Beastie Boy!) but she’s 25 and yielding her sexuality like a weapon.

They say this is a man’s world, but if that man has an assistant in a tight sweater, who really has the upper hand? Naomi knows she has power and she’s not afraid to cause a little havoc. A good marriage doesn’t have cracks for 25-year-olds to wiggle into but golden_exits_adam_horovitz_stillNick’s marriage isn’t quite so solid. He and Alyssa (Chloe Sevigny) have been together a decade and there have been cracks before, so we learn from Alyssa’s sister Gwendolyn (Mary-Louise Parker). Plus, Nick’s life is so, so boring (SO boring he can’t help but repeatedly describe it as ‘thrilling’, without a trace of irony, and it never fails to break your heart).

Meanwhile, Naomi is also “reconnecting” with Buddy (Jason Schwartzman), who married the ripe young assistant he hired not so long ago (Analeigh Tipton) and is now finding it a little constricting to work and live with the same woman – which I suppose is why he sneaks out with Naomi behind her back.

You can probably tell this movie is about the precarious balance of relationships, and how a tiny (Aussie) nudge can upset the whole thing. But not just the balance of relationships I suppose, but of life. These Brooklynites are so privileged they’ve lost sight of it, and so stagnant that the arrival of a single student can send shockwaves through their families that will reverberate long after Naomi has gone back home.

Director Alex Ross Perry has a knack for unlovable characters but though I think we’re supposed to find a way to love them anyway, I truly did not. Their ennui is contagious.

Browning as the temptress transcends the cliche and Horovitz is pretty great as a guy who isn’t quite sure whether he’s okay with his life or not. The camera fixates on each character as we eavesdrop on their overly articulate verbal ejaculations but ultimately this is a movie about boring, every day people that doesn’t do much despite saying tonnes. What happens to a marriage after passion fades? And what happens to a movie if I never felt passion for it in the first place? Irreconcilable differences, let’s say.

The Big Sick

It’s hard to put a movie like The Big Sick into a box. If you heard romcom, you heard wrong. Not dead wrong, and not totally untrue, but you’ll have to shift your expectations. What you SHOULD and can expect from it: a very authentic and relatable experience, with lots of family drama, a little rom, and some definitely com.

It’s about how star Kumail Nanjiani met his (spoiler alert!) wife Emily, with whom he co-wrote the movie. So yes, they end up together. But you’d hardly guess it. In this only-slightly-fictionalized-account, they meet and fall in love rather quickly, but basically agree that there’s little chance of this being a long-term thing; she’s in grad school and The-Big-Sick-moviedoesn’t want a commitment, his fate involves an arranged marriage, sooner rather than later if his mother gets her way. They go their separate ways, and that might have been that had Emily (Zoe Kazan) not fallen ill with a life-threatening illness that left her in a coma. Her friends all busy with finals, they call him in to sit at her bedside while her parents fly across the country to be with her.

Kumail was a struggling stand-up comedian\Uber driver at the time, and he kept his relationship secret from his family, who expected him to marry within the culture, to a woman of his mother’s choosing. Emily’s parents, meanwhile, are not huge fans of Kumail’s, since he’s the guy who recently dumped their daughter after admitting that he’s gone a series of blind dates at his mother’s dining room table. Her parents, played by Holly Hunter and Ray Romano, actually add a very interesting dynamic to the whole thing. But though the script doesn’t gloss over any of life’s bumps (at times, it’s nakedly, shockingly honest), it also doesn’t cast anyone as the villain. It’s just people coming at things from different angles. Love is hard, and if you’re lucky, long. It takes work and compromise. It’s even harder and compromisier when a couple comes from different backgrounds, and may have different expectations of love and dating and marriage.

Bottom line: I cannot recommend this enough. While not a laugh riot, it’s cheeky and authentic and well-written, like show-offily well-written. Real people populate this film, and all the players are its equal. Nanjiani is great, of course, but unexpectedly great performances from Hunter and Romano, in roles much meatier than you might anticipate, really make this thing come together. You care about these characters, together and separately, which is 107% more than I care about the soulless, sequel-heavy pieces of utter balogna that dominate movie theatres this day. The Big Sick isn’t just a great movie, it’s a shining beacon of hope in a bleak landscape of unimaginative belly button lint. Producers, take note: more like this, please. On the double.