Tag: mary kay place

DIANE-Review

Since the multiplex this weekend will be dominated by a zany superhero and the aggressive reanimated deceased, those seeking slice of life cinema filled with folks similar to your neighbors and family might have to do some searching. It may take some time unless your local “arthouse” or “indie” theatre is running this intimate character study. What makes the film extra engaging is the cast of veteran actors (including an Oscar winner) headed by the great Mary Kay Place, who has bounced from comedy to drama in her 45 years of TV and movie roles (she’ll always make me smile as I recall her as country singer Loretta Haggers on the ground-breaking TV sitcom/soap opera “Mary Hartman, Mary Hartman”). Now Ms. Place lends her considerable talents to the title role of DIANE.

The title character, when we meet her, is well into her “golden years”, but this widow appears to have very little time to herself (what rockin’ chair). Taking up a good chunk of her day is her hospital visits with cousin Donna (Deidre O’Connell) who is slowly dying of cervical cancer. On the way home, she drops by (usually with clean laundry and groceries) the squalid apartment of only son Brian (Jake Lacy), who she fears is “using” once more. He insists that it’s lingering bronchitis and resents her nagging about heading back to rehab. Diane spends most evening meals at a local bargain buffet with BFF Bobbie (Andrea Martin). That’s when they’re not dishing out free hot meals to the needy in the basement of their church. And then there’s the occasional family get together when Diane catches up with the outspoken Mary (Estelle Parsons), devoted Madge (Joyce Van Patten), sweet Dottie (Glynnis O’Connor), and irrasable chain-smoking Aunt Ina (Phyllis Somerville). Diane racks up the miles on her car as Bryan goes missing and Donna takes a turn for the worst. When Bryan does re-emerge he’s found God via AA and his new girlfriend Tally (Celia Keenan-Bolger) who badger Diane to join their (talking in tongues) church. A frustrated Diane (Brian seems to have traded addictions) begins to wonder if anyone will ever travels those twisty two-lane roads to comfort her, especially as Father Time claims more of her dear ones.

Much as with her BIG CHILL Glenn Close and last year’s THE WIFE, the title role is a much-deserved showcase for the considerable acting skills of Ms. Place. With every step, every half-lidded glance Place conveys the worn-down, but undefeated nature of this “every woman”, who drags herself forward to support others. One might consider Diane a saint, but Place shows us her all too human frailties, still ashamed of a long-ago affair (betraying a dear family member who’s also a friend), and frustrated by her son’s weaknesses (she may be more annoyed by the “sober” Bryan who pummels her with prayer). When Diane tries to numb her pain at a local watering hole even swaying to the jukebox, the stunned locals send out her family’s “rescue team”. Lacy plays against his leading man looks to give us an angry addict, in denial pushing away the only person who cares about him. But, as his mom reminds him, the selfishness doesn’t fade with the “cure”. Speaking of playing against “type”, Martin, a superb comic actress, takes a break from her usually zany persona for pal Bobbie, who lets Daine vent without judgment, even as she makes her the object of her sullen fury. And Parsons is a hilarious force of nature as Mary, a terrific sparring partner to the “no filter” Ina played with gritty compassion by Somerville.

Writer/director Kent Jones, in his first narrative feature, has crafted a haunting essay on enduring past indiscretions and the heartbreak of loss. Diane hears the ticking clock as more of her time is spent at hospitals and funerals. The film’s tone is dark, but never completely hopeless (especially the resolution of the Brian subplot). It’s ultimately a hopeful tale, as just surviving, simply putting one foot in front of the other is a way to defy the grim reaper. Taylor uses a POV of the backwoods roads and occasional highways to shift the scene settings to great effect, making us feel as though we’re right with Diane as she burns away the gas and the hours. The “honkey tonk” scene is surprising, but not as startling as a much later scene in which Diane truly indulges in danger (perhaps it’s a dream). Plus the dark wintery upstate New York backdrops heighten the chilly, often dour days. Though it may hit too “close to home” for film fans of a “certain age”, you’ll be swept away by Place’s dogged, but not down yet, DIANE.

3.5 Out of 5

DIANE opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinema

I’LL SEE YOU IN MY DREAMS (2015) – The Review

illseeyouinmydreams

Into the noisy chaos of summertime at the multiplex, offering a quiet diversion from the super-heroes and natural disasters, is a gentle comedy/drama/romance aimed at a most neglected movie audience: the seniors. Or, the AARP crowd, if you will. Their favored flicks usually arrive in the later part of the year (for Oscar noms), or in the early Spring/late Winter. The studio execs are often stunned when this demographic embraces a film. Such was the case with THE BEST EXOTIC MARIGOLD HOTEL, which even inspired a recent sequel in addition to several US mature pairings like AND SO IT GOES. And in TV-land, those “Golden Girls” continue their popularity in endless reruns. This new film zeroes in on one such “golden gal” (well, she does have three BFFs) and provides a veteran actress of stage, screen, and TV with the role of a lifetime as the main focus of I’LL SEE YOU IN MY DREAMS.

The film begins early in the morning as sixty-something widow Carol Peterson (Blythe Danner) awakens in the bedroom of her comfy suburban California home, pushing aside her beloved old pooch. We see her routine in quick succession, until one morning the pup is not sharing her bed. And not responding to her call. Her canine companion’s time is up. Returning home from the vet, Carol is horrified by the site of a rat scurrying through her kitchen. So horrified, that she sleeps outside that night, bundled on some pool furniture. This startles the new pool cleaner Lloyd (Martin Starr), but Carol’s explanation begins a new friendship with the young man. Later Carol re-joins her three girlfriends, frisky Sally (Rhea Perlman), focused Rona (Mary Kay Palace) and staid Georgina (June Squibb) for their weekly poker game. Rona thinks that Carol should join them and live at the country club/retirement complex, while Sally thinks she should jump into the dating scene. After a fruitless afternoon “speed-dating” seminar, Carol is approached in the parking lot by the club’s resident “catch” Bill (Sam Elliot), who had flirted with her at a pharmacy recently. Should she take another chance at romanc

As mentioned earlier, Danner grabs up this role like a football and runs it in for an acting touchdown. In recent years, she’s been best known as the mother of Gwyneth along with many grandmother screen roles (in THE LUCKY ONE and the FOCKERS series) and for being a TV commercial “spokeswoman” , but here she’s finally front and center, proving she’s still got the “chops” to carry a story. As Carol, she runs the gamut of emotions from overwhelming grief to giddy, blossoming infatuation. And we even get treated to her superb musical skills. Thankfully. Danner’s given an exceptional supporting cast, particularly her “poker sisters”. Perlman has a mischievous grin to match the sparkle in her eyes as she prods her pal into amorous action. Place is a delightfully prim “straight woman” to the antics of that frisky duo (a scene of her surprised during an early morning visit to Carol is priceless). Squibb is nearly the polar opposite of her Oscar nominated NEBRASKA character, but is equally engaging as the more reserved widow, who’s still up for the occasional adventure. In the film’s last act, Malin Akerman, an actress best known these days for her comedic TV roles, has a great rapport with Paltrow in her role as Carol’s visiting, very supportive, East Coast-based only daughter. The two are terrific especially as daughter Katherine assumes the more parental figure in the final scenes. As for the fellas’, Elliot exudes his usual silver-fox, crinkly charm as Carol’s persistant suitor. The guy is the embodiment of “laid back”, especially as he introduces carol to the relaxing joys of cruising (on the ocean). Unfortunately the writers have saddled him with an annoying affectation. With his always unlit cigar, I was reminded of the irksome male lead of THE FAULT IN OUR STARS. The best addition of the film may be the wonderful turn by the splendid Starr who gained TV immortality as the lanky, loony Bill Haverchuck in the cult classic “Freaks and Geeks” and followed up with regular gigs on “Party Down” and the current HBO hit “Silicon Valley” in addition to being one of the Apatow supporting players (KNOCKED UP, SUPERBAD, and others). Here he gets to explore his dramatic side, while still being funny, as the somewhat lost thirty-something who somehow discovers a kindred spirit in Carol. Their conversations have a warm, natural rhythm, as they begin to guide each other in order to get back on their respective paths. Kudos also to the many veteran actors playing the “speed-daters” who elicit laughs and inspire sympathy.

In just his second feature film (THE NEW YEAR), director Brett Haley gives the film a real slice-of-life, easy-going vibe, never resorting to the melodramatic or grotesque. The film does make an ill-advised trip to dopey (pun intended) farce when the ladies very impulsively decide to toke up on some medical weed (lotsa’ munchies jokes), but otherwise the script by Haley and Marc Basch avoids any false notes. The cinematography by Rob Givens envelops the film in a warm, hazy glow while the music by Keegan DeWitt never telegraphs or overwhelms the emotions. It’s a great story to share with your mothers or aunties, but anyone can get something from Carol’s journey in I’LL SEE YOU IN MY DREAMS.

4 Out of 5

I’LL SEE YOU IN MY DREAMS opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas

illseeyouinmydreamsposter

 

SMASHED – The Review

Seems like yesterday (actually a few weeks ago) that we were talking about the depiction of alcohol dependency in movies with the release of the excellent FLIGHT. This weekend the much lower-budgeted independent film SMASHED opens in a few select screens (far fewer than the Zemeckis flick). I hope movie goers don’t pass this one up thinking that they’ve covered this territory too recently. This is a study of a young couple in their 20’s and how the desire to end an addiction affects the relationship. There’s no nail-biting airliner crash landing at the heart of this one, but the journey of the young woman at the center of SMASHED has more than its share of emotion and drama.

That aforementioned young woman is Kate Hannah (Mary Elizabeth Winstead). She’s happily married to Charlie (Aaron Paul). They share a modest LA home and spend their evenings at several local watering holes boozing the night away. Charlie works out of their home while Kate barely makes it to her job while dealing with the after-effects of the previous nights. One day the hangover catches up to her at work which compels her to lie to her gullible boss (Megan Mullally). Everyone believes the fib except Kate’s co-worker Dave (Nick Offerman), who suspects her secret. He invites her to an AA meeting. She brushes him off until two more frightening black-outs convince her to join Dave’s group. Kate befriends a recovering caterer named Jenny (Octavia Spencer), who agrees to be her sponsor. Unfortunately Charlie chafes at his wife’s news. He just doesn’t think that there’s a problem. A trip to make amends with Kate’s estranged mother (Mary Kay Place) doesn’t go as hoped. But Kate struggles to change her ways. Can she get clean before the truth comes out at work? And will her quest for sobriety drive a wedge between Kate and Charlie?

This an intimate,smaller-scaled version of a story Hollywood has told previously with THE DAYS OF WINE AND ROSES and WHEN A MAN LOVES A WOMAN. Without a big budget it needs strong performances to draw us in. Luckily Winstead is more than up to the task. Her powerful work is the anchor of the story. She’s made a name for herself in the past few years with mostly genre roles (THE THING, SCOTT PILGRIM VS. THE WORLD, ABRAHAM LINCOLN, VAMPIRE HUNTER), but this film establishes her as a major dramatic actress. This echoes Charlize Theron in MONSTER. We’ve seen her before, but had no idea of her range. Kate’s behavior disturbs us (she keeps a cold beer bottle within reach of the shower) and is often repellant (an early morning liquor run turns grim quickly). But we see how good she is at her job and how pleasant she is with her co-workers. Immediately we’re rooting for her. Her decision to get help doesn’t send her to happiness. One of the film’s most harrowing moments is when she relapses. Kate’s confrontation with Charlie is raw and very scary. Winstead delivers a brave, searing performance that takes Kate to dark, ugly depths. If there’s any justice Mary Elizabeth Winstead will be one of the five actresses vieing to take home Oscar. I look forward to hopefully even more stellar work from her.

Winstead is joined by a superb supporting cast that’s mostly known for their superb work on television. Paul has taken home several awards for the acclaimed “Breaking Bad” and will get some deserved recognition as the hard-partying Charlie. He truly adores Kate and fears that she will change radically once she’s sober. The aforementioned relapse scene shocks him to the core but doesn’t spur him into dealing with his own abuses. Although he can be cruel , he still elicits much sympathy by the film’s end. Offerman is doing a lovable buttoned-up, nerdy variation on his Ron Swanson character on the sublime “Parks and Recreations”. A scene expressing his feelings for Kate is both hilarious and unbelievably awkward (truly cringe-worthy). Mullally infuses Barnes with more of the daffyness of her sitcom work, which makes her resolution with Kate even more heart-breaking. It’s great see Place back on the big screen once more. She’s unafraid to show why Kate has broken off contact with this toxic parent. This film is Spencer’s first work since picking up the Oscar this year for THE HELP. Jenny is much quieter than the boisterous Minny. Her testimony at the meeting and her advise for Kate while working in the kitchen are memorable. Like her co-stars, she works very well with Winstead.

Relative newcomer director James Ponsoldt hasn’t gotten great performances from all the actors here. He never lets the camera get in the way of this intimate character study. His nighttime LA is fully of wavering streetlights and headlights that simulate intoxication. The sunlight sears into the hungover revelers almost causing them to react like classic vampires (none of that sparkly stuff!). Unlike FLIGHT, Kate knows she has a problem fairly early on. The drama is seeing her try to get past all the many obstacles life tosses in her way to recovery. SMASHED is quite a wonderful drama that’s not to be missed. Ponsoldt and his troupe ( especially the astounding Ms. Winstead) have uncorked one of the year’s most powerful (almost intoxicating) films.

4.5 Out of 5