Another filmmaker working in the same vein of improv and talky comedy-drama as Lynn Shelton and the “mumblecore” scene is Kris Rey (née Williams), credited at the time of this, her third film, as Kris Swanberg, given she was married at that time to Joe. I think it’s fair to say she has her own sensibilities, of course, which find good expression in this solidly-wrought and well-acted small ensemble piece.
I wonder if maybe the title is a joke, because really there’s nothing particularly surprising that happens here, but maybe I’m just becoming used to Cobie Smulders appearing in this kind of low-stakes gently-twee American indie/improv film (she was in Andrew Bujalski’s Results the same year, as well). That said, focusing on a pregnancy isn’t all that common a theme — outside jokey Knocked Up-type films about loser dads — and everyone does a good job. Smulders is a teacher, while Anders Holm has another of those smugly infuriating nice guy roles as her husband (he had a similar role in The Intern, again made the same year). The film loops in class concerns by having a parallel story of one of her black school students (Gail Bean) who’s in the same situation, though without Smulders’ race- and class-based privileges that she is entirely unaware of, and that’s really what the film is interested in exploring. It may not be challenging, but it’s sweet and pleasantly undemonstrative and after some of her former-partner’s works that can definitely be a very good thing.
Director Kris Rey [as Kris Swanberg]; Writers Megan Mercier and Rey; Cinematographer Dagmar Weaver-Madsen; Starring Cobie Smulders, Gail Bean, Anders Holm, Elizabeth McGovern; Length 90 minutes.
Seen at home (Netflix streaming), London, Thursday 15 September 2016.
I feel like I’ve been taking on quite a few unchallenging romcoms lately (as I did action films last year), and it’s a genre that more than many really does stand or fall on the likeability of its lead actors, and the breeziness of its writing. Which is just as well for How to Be Single because it has plenty of both. I mean, sure, it has some cloying sentimentality — most notably when Leslie Mann’s embittered character Meg gets the sudden desire to have a baby after apparently working for years as a maternity doctor — and it does suggest that being single is just a step on the path towards happy, heteronormative coupledom. Still, throughout its running time it does admirably stay focused on the single life of its four female leads, and when characters do get into relationships the film swiftly fast-forwards from first kiss to break-up via an intertitle (e.g. “3 months later”). It also along the way challenges the idea that having children without a father should be strange (though there’s a small role in this respect for Jake Lacy, which seems to present an alternative path from his character in Obvious Child). But whatever else it may do, it’s mostly about how lovely and watchable and empathetic Dakota Johnson is as a star — which is great because she was by far the best thing about Fifty Shades of Grey — and it has a good supporting turn from Rebel Wilson, who thankfully is not required to do an American accent, even if her character can sometimes be just a little too far along the ‘wacky/fun/drunk comedy sidekick’ continuum. Of the other stars, Alison Brie has a fairly minor role, and only Anders Holm as bar owner Tom really makes much of an impression amongst the roster of boyfriends, partners and love interests. Still, that’s fine by me, because this is a film primarily about the women’s experience of New York. It’s largely a middle-class vision (the script cheerfully references Friends and Sex and the City, of course), and as I said above, it doesn’t really challenge too many orthodoxies, but it’s likeable.
Director Christian Ditter; Writers Dana Fox, Abby Kohn and Marc Silverstein (based on the novel by Liz Tuccillo); Cinematographer Christian Rein; Starring Dakota Johnson, Rebel Wilson, Leslie Mann, Alison Brie, Anders Holm; Length 109 minutes.
Seen at Cineworld West India Quay, London, Monday 1 March 2016.