Marisa Tomei and Anne Hathaway also star in a tart tale of everyday disorders that returns director Rebecca Miller to her personal velocity.
Marisa Tomei and Anne Hathaway also star in a tart tale of everyday disorders that reaffirms the ebullience of Miller's filmmaking voice.
The movie’s main figures aren’t just suffering from off-kilter dilemmas — they have problems we might characterize as everyday mental illness. The film’s gentle audacity is that it dares to posit mental illness as the new normal. We’re invited to laugh at what we’re seeing, yet Miller works in such a heartfelt and unassuming way that we’re never standing outside the quirks. The film says to its audience, “It’s okay, admit it.
The odyssey he winds up on is a sly little slice of existential amorous adventure. Walking his French bulldog, Steven lands at a deserted Brooklyn dive bar at 11 a.m. and orders a whiskey. It takes him a moment to realize that there’s another patron in the house. Her name is Katrina, she’s nursing a pint while slunk into a booth, and she’s played bywith the exact sort of slovenly moth-eaten desperate avidity you see in day drunks who’ll connect with you at the drop of an ice cube.
Harlow Jane endows Tereza with the romantic urgency of the young Laura Dern. But even as we’re noting the precocious idealism of this high-school science-geek love affair, it’s beset by a disaster that feels all too emblematic of our era. Tereza’s stepfather, a court reporter played with dour pent-up fury by Brian d’Arcy James, regards her with a kind of dangerous possessiveness.
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