MARRIAGE STORY – movie review

MARRIAGE STORY
Netflix
Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Noah Baumbach
Screenwriter: Noah Baumbach
Cast: Scarlett Johansson, Adam Driver, Larua Dern, Ray Liotta, Alan Alda
Screened at: Digital Arts, NYC, 11/13/19
Opens: November 6, 2019  Streaming December 6, 2019

Marriage Story Movie Poster

Divorce is a traumatic event for many, and considering that fifty percent of marriages end up that way, many of us in the U.S. have undergone its agony. These are the people who can immerse themselves in “Marriage Story” and be particularly caught up in the emotions on display. What’s more, since it is based on what the writer has experienced—specifically Noah Baumbach’s divorce from actress Jennifer Jason Leigh—the exposure becomes even more arresting.

While some get divorced because their partners commit adultery (surprisingly, in a liberal state like New York, adultery was once the only allowable argument for a split), others get bored with their partners, maybe some more have changed emotionally and intellectually, growing apart from their spouses. In the case of “Marriage Story,” Noah Baumbach—whose “The Squid and the Whale” in 2005 finds two boys in Brooklyn trying to cope with their parents’ separation—the split is not desired mutually. The woman, Nicole (Scarlett Johansson) seeks divorce from her husband Charlie (Adam Driver). Neither of them is a typical nine to five worker. Both are directors, though Nicole is primarily an actress. Nicole feels slighted for having obeyed Charlie’s insistence that she remain with him in New York City where he is an up-and-coming director of off-Broadway plays, while she has repeatedly had to turn down offers for movie roles in Hollywood.

The divorce could have been amicable, or as amicable as you sometimes think when you read about celebrities who say they “remains friends.” But a child is involved, and children complicate lives. Disputes over custody of eight-year-old Henry (Azhy Robertson) turns what could have been as close to “let’s be friends” to matches of yelling and screaming, in one case their raised voices and just a threat of physical violence puts you on notice that they will rehash the histrionics of “The War of the Roses,” when Michael Douglas’s Oliver Rose and Kathleen Turner’s Barbara Rose virtually reenacting the American Civil War in their fight to determine who moves out of the house.

In what could be regarded as playing the feminist card, Nora (Laura Dern), serving as Nicole’s aggressive lawyer, notes that fathers get away with near murder. The society expects women, says Nora, to be like the Virgin Mary, perfect, while men can get away with doing as little as possible, that the world expects men to be screw-ups. For his part Charlie hires Bert Spitz to be his lawyer, a laid-back fellow with some old-fashioned jokes at $450 an hour, but Charlies fires him for the more aggressive Jay (Ray Liotta), $950 an hour with $25,000 retainer. Since Charlie insists on continuing his job directing plays in Brooklyn while Nicole is determined to remain in L.A. to continue her career with films, the battle is fought out in court, the sparring of the counselors, particularly Nora, scoring points for those of us in the audience who sympathize with her.

We may be manipulated into sympathizing with her from the beginning, but as the story goes on, Charlie, and especially Nicole,go through emotional changes, sometimes showing vulnerability, other times a rugged determination to win custody of the boy. With a terrific performances all around. Special kudos to young Azhy Robertson as a boy who wants to remain in L.A. and appears to lean toward siding with his mom.

“Marriage Story” is far from a downer, but is instead mixed with comic moments at some times hilarious, and other times examples of pure entertainment. Julie Hagerty turns on an eccentric performance as Nicole’s mom who, rather than having the traditionally suspect relationship with her son-in-law loves the poor guy and appears almost ready to marry him as soon as the divorce becomes final. Score one for a male director’s empathy for feminism, ready and able to sign on to the idea that in marriage as in the corporate sphere, women are getting shafted.

136 minutes. © 2019 by Harvey Karten, Member, New York Film Critics Online

Story – B+
Acting – A
Technical – B+
Overall – B+

WHO WE ARE NOW – movie reveiw

WHO WE ARE NOW

Film Rise
Reviewed by: Harvey Karten
Director: Matthew Newton
Screenwriter: Matthew Newton
Screened at: Critics’ link, NYC, 6/1/18
Cast: Julianne Nicolson, Emma Roberts, Zachary Quinto, Jess Weixler, Lea Thompson, Jason Biggs, Jimmy Smitts
Opens: May 25, 2018

Who We Are Now Movie Poster

It’s not unusual for two actress to deliver awards-worthy performances during the prestige season of November-December. But it’s unlikely this early in the year for the academy members and all the other awards organizations to be delighted by two spot-on performances. One such actress would be Toni Collette, already considered by those in the know as one of the greats of her generation, this year delivering her best performance as a jinxed woman in “Hereditary.” The other? Julianne Nicholson, in the role of a desperate woman who, having served a decade in prison for a crime revealed only in the closing moments. Nicholson is not as known as Collette and has been underutilized, but in Matthew Newton’s naturalistic indie, we become patiently aware of not only the situation she has faced as ex-convict, but not so much about a young, not quite mature lawyer who is defender her in a custody battle.

The story unfolds so casually that we in the audience have to wonder just what is happening, what the stakes are. Soon after her release from prison, Beth (Julianne Nicholson) shows up unannounced at the home of her sister Gabby (Jess Weixler) and Gabby’s husband Sam (Scott Cohen), only to be told that next time she’d better phone before visiting. Why so? During Beth’s incarceration Gabby and Sam were granted guardianship over Beth’s ten-year-old boy Alec (Logan Schuyler Smith), a lively kid obviously well-nurtured by his guardians with ambitions to move from second trumpet to principal player at his school. Beth is, after all, the boy’s biological mother but I think her sister is correct in figuring that since Alec had not met Beth at any time and had been told that his guardians are his parents, what’s the point of confusing him now?

The title of the film, “Who We Are Now,” indicates that writer-director Matthew Newton wants us to compare and contrasts the lives of two women. One is a cynical criminal whose maternal talents are unknown and who is desperate for a job paying more than she earns in a nail salon. The other is a young woman recently out of Columbia Law School treated poorly by her Waspish mother (Lea Thompson) who is concerned mostly about her daughter’s upcoming wedding, demanding more of Beth’s time for the family.

Much of the dialogue involving Beth and her women friends is unnecessary and could have been cut to give up more insight into Jess’ conflicts with her job. She works with Carl (Jimmy Smits) who wants her commitment to remain with a pro-bono law firm that works with folks unable to afford lawyers, impressed by her defense of a youthful high-school dropout inside the prison system. By contrast, Beth cannot dream of working at anything better than a job as a waitress, and even for even a chance at that job, she has to sexually service Vince (Jason Biggs), a restaurant manager, if she has any hope of landing the gig. Her hard shell is softened by her casual friendship with Peter (Zachary Quinto), a barfly who had served in Afghanistan, reports that the war is a nightmare, and can’t wait to go back for another stint.

Australian director Matthew Newton has many acting roles in his résumé, both TV spots and feature films, and before taking on this project had been at the helm of three other features including “From Nowhere” (undocumented Bronx high schools try to get papers to stay in the U.S.), and “Three Blind Mice” (Navy officers enjoy one last night in Sydney before shipping off to the fight in the Gulf). Evoking entertainment value out of a film that emphasizes naturalistic conversations is difficult: Newton succeeds admirably.

Unrated. 99 minutes. © 2018 by Harvey Karten, Member, New York Film Critics Online

Story – B+
Acting – A-
Technical – B+
Overall – B+