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 recognise that perhaps the setup for this film is not the most original, and the characters are fairly dull as characters (they’re mostly variations on entitled middle-class white people), but yet I really enjoyed this relationship dysfunction comedy because it’s funny, and I am a huge fan of the always-underrated Melanie Lynskey, not to mention Alia Shawkat. The former is playing within her comedic element, as Annie, a woman who invites all her closest friends to a retreat at a family home out in the countryside as the pretext for staging an ‘intervention’ for her friend Cobie Smulders’ marriage, which ends up giving Annie a chance to rethink some things for herself. The film’s narrative arc is fairly predictable as are the ways everyone falls out with one another and then comes together again, but this is all about the performances from its ensemble cast, who are uniformly delightful. It also, importantly, doesn’t overstay its welcome.
Director/Writer Clea DuVall; Cinematographer Polly Morgan; Starring Melanie Lynskey, Alia Shawkat, Clea DuVall, Cobie Smulders, Natasha Lyonne; Length 88 minutes.
Seen at home (Netflix streaming), London, Monday 2 January 2017.
Andrew Bujalski can’t really shake his weird indie beginnings (why would he want to?), and even this film which some commentators have suggested is him going mainstream — by which, in comparison to his last film Computer Chess (2013), means largely more surface sheen to the bright, nicely-framed cinematography, and a more famous roster of cast talent — hasn’t necessarily reduced the overall oddness. Partly it helps to have Kevin Corrigan around, an actor who never fails to radiate weird, awkward vibes whatever he’s doing. He’s Danny, the character seeking the results of the title, a newly-rich, newly-divorced man looking to get in shape, hence contacting Trevor (Guy Pearce)’s fitness centre and being assigned Kat (Cobie Smulders) as a trainer. Pearce and Smulders really put across their characters well, with their can-do upbeat personal training ways, though it’s Trevor who’s particularly filled with the self-help platitudes (particularly in some hilarious YouTube videos we see for his holistic fitness philosophy). Kat has an angrier edge, and rebuffs Danny’s maudlin advances on her. It would be easy to take against the film; Corrigan and Smulders, or Smulders and Pearce are hardly anyone’s idea of perfect romcom pairings. But that’s partly the point: this isn’t trying to be the perfect romcom. It’s deeply awkward at times, and it’s no less weird than Bujalski’s earlier films, but it gets, as they say, results.
Director/Writer Andrew Bujalski; Cinematographer Matthias Grunsky; Starring Guy Pearce, Cobie Smulders, Kevin Corrigan; Length 105 minutes.
Seen at home (Netflix streaming), London, Sunday 24 January 2016.