Tag Archives: Peter Fonda

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.

SXSW: The Most Hated Woman In America

Madalyn Murray O’Hair was an activist. For atheism. Perhaps you remember her? She was reviled by some and praised by others, I suppose depending on which side of god’s fence you sit on, if you believe there’s a fence, and whether you believe other people have the right to picket that fence. She took pride in being a nonconformist; it suited her already abrasive personality. When she was unable to defect to the state atheist USSR (they wouldn’t have her), she moved in instead with her mother in, and took on the Baltimore public school system. The case went all the way to the Supreme Court and led to prayer being banned in schools. Hate mail sometimes contained actual shit but praise mail sometimes contained cheques. Her penchant for nonconformism led to “creative accounting” with her so-called non-profit.

large_MHWA-posterAnyway. This movie is NOT the story of Madalyn’s gleeful adoption of a derisive nickname given to her by Life magazine on its front page (“The Most Hated Woman in America”). No, this film instead focuses on that time in 1995 when Madalyn (Melissa Leo) was kidnapped from her own home, along with her son (Michael Chernus) and granddaughter (Juno Temple) by the likes of Josh Lucas and Rory Cochrane. A friend of the family has trouble convincing anyone that a crime has occurred, and only a reluctant journalist (Adam Scott) pursues their disappearance.

O’Hair was clearly a complicated individual but this film is not the best gauge. Narratively it’s full of jumping beans, skipping around like it can’t find an interesting thread even though actually any thread would have been fascinating if only the film had the courage to stick with it. Melissa Leo and cast are able enough; Leo serves this prickly character rather perfectly but the rest are more or less wasted. This film only manages to scrape the tip of an ice berg, story-wise, but if you’re surfing Netflix looking for some true (ish) crime and an Oscar-winning barbed tongue, you could do worse.