It appears to be the time of year for what are often dismissively termed “chick flicks”. I hate that term, like “women’s pictures” for the melodramas of the 1940s, it smacks of snobbish derision. There are already too many self-satisfied dude auteur films dealing with alienation and violence courting the film school pseuds, not to mention all those deadening superhero epics, so there can never be too many contrasting visions of the world. That all said, I’m not a huge fan exactly, though as far as a melodramatic ‘weepie’ goes, Miss You Already does fine. Drew Barrymore remains a potently charismatic and cheerful presence on any cinema screen even as she reaches her (shock!) 40s, but this film is all about Toni Collette’s English rock-n-roll chick (her accent doesn’t grate, thankfully), with whom Drew’s character grew up, as she acts out, gets into trouble, then has a family (apparently adjusting with ease) and, as we catch up with her, is now coping with a cancer diagnosis. Being set in London, everyone has those kind of perfect London homes that surely don’t really exist (Barrymore and boyfriend played by Paddy Considine live together on a boat overlooking Battersea Power Station!), and meaningful moments take place in picturesque locations — though at least the geography isn’t strained too far beyond credulity. More to the point, Collette gets through the tearful and angry scenes with her dignity intact, which is more than can always be said for whomever scored the film, though leaning on late-80s alt-indie classics is I suppose in keeping with the characters. It’s certainly not a bad film, and it’s even heartwarming in its way.
NEW RELEASE FILM REVIEW Director Catherine Hardwicke | Writer Morwenna Banks | Cinematographer Elliot Davis | Starring Toni Collette, Drew Barrymore, Paddy Considine, Dominic Cooper, Jacqueline Bisset | Length 94 minutes || Seen at Cineworld Wandsworth, London, Sunday 27 September 2015
Nicole Holofcener makes movies about fairly unexceptional people in their middle-age just working things through in a slightly messy way, the kind of thing that’s apt to be overlooked, but her films — and this one in particular — have a warmth and generosity to them that’s more rewarding than a lot of other romantic comedies out there. It helps in this case that the late James Gandolfini is involved, as despite ostensibly playing against ‘type’, he is exactly the right kind of gregarious presence for this story, although most of the focus is on Julia Louis-Dreyfus as Eva, a woman who’s trying not to be in a relationship, but seems to just fall into one.
It’s not perfect by any means. There’s a rather too neat plot twist that ties in Eva’s work relationship as a masseuse to poet Marianne (Catherine Keener) with her burgeoning love interest in Gandolfini’s Albert, and the way that twist is developed feels a little bit too forced. Yet there’s still a lot that is wonderful and well-observed, little moments of characterisation that feel true to life. There’s comedy too, though this is a comedy primarily in its broad strokes and its feeling for its characters; maybe it would be fairer to say that within its comedic framework there’s a strong streak of melancholy.
A lot of the film’s success is due to the actors, and while the leads may be more familiar from television, they show a great aptitude for small gestures that show up so well on the big screen. There’s a bit of manipulativeness with the musical score, sure, and the parallel sub-plot of the leads’ respective daughters moving out of home towards college has some in-built corniness. However, I think the movement of Louis-Dreyfus’s eyebrows or Gandolfini’s watchful sideways glances hold a lot more power within the film’s context than any of the more obvious plot contrivances. Just seeing Gandolfini on screen provokes a fair bit of pathos, knowing that such an engaging screen presence is no longer around.
I fully admit I have little helpful to add to the critical commentary on this deft romantic comedy, but between its likeable lead players, it’s a welcome presence that’s both diverting and entertaining.
FILM FESTIVAL FILM REVIEW: London Film Festival Director/Writer Nicole Holofcener | Cinematographer Xavier Pérez Grobet | Starring Julia Louis-Dreyfus, James Gandolfini, Toni Collette, Catherine Keener | Length 93 minutes || Seen at Vue West End, London, Sunday 13 October 2013
NEW RELEASE FILM REVIEW || Directors/Writers Nat Faxon and Jim Rash | Cinematographer John Bailey | Starring Liam James, Sam Rockwell, Toni Collette, Allison Janney, Steve Carell | Length 103 minutes | Seen at Cineworld Wood Green, London, Sunday 1 September 2013 || My Rating likeable
Coming of age movies have never been my favourite. You’ll have gleaned that from my seriously underwhelmed review of Mud (2012), a film many others loved. A lot of the same kinds of elements are in place here, but within a comedic framework (rather than Southern gothic), and I have a lot of the same qualms.