Marriage Story

Noah Baumbach's Marriage Story opens with Charlie (Adam Driver) and Nicole (Scarlett Johansson) listing the many reasons why they love the other. But this isn't as heartwarming as it initially appears; they've written these reasons for the sake of marriage counseling. (Nicole then refuses to read them out loud out of embarrassment.) This kicks off the essence of the film.

That's not to say Charlie and Nicole's separation is a tumultuous one, far from it. They're still living under the same roof -- most likely for the sake of their son -- as they work out their differences. But after Nicole heads to Los Angeles to film a TV pilot (and hires a lawyer), that's when things get both complicated and ugly.

Par for the course of a Baumbach film, there are many moments that are just extremely uncomfortable to watch unfold. Granted, to see a marriage crumble follow suit by a bitter custody dispute is not something anyone wants to experience let alone witness. And what Baumbach captures is more emotionally devastating than what's found in his earlier work.

Both Driver and Johansson have been involved in bigger projects these last few years (he with Star Wars, she with the Marvel Cinematic Universe) so to have them in titles that rely more on substance than style is nice. (They've done others of the like as well but still.) Obviously those larger vehicles don't give them much of a chance to properly act so Marriage Story more than offers that opportunity (to Johansson especially).

Marriage Story certainly isn't date night material (much in the same vein as Gone Girl). With attention-grabbing supporting turns from the likes of Laura Dern, Alan Alda, Ray Liotta, Julie Hagerty, and Merritt Weaver, Baumbach also continues to show his worth as a storyteller. (Being written after his own divorce shows that yes, he knows exactly what he's talking about.)

My Rating: *****

Mistress America

A noted trait amongst various Noah Baumbach films is that there isn't a single likable character among the roster. The noted exception is Frances Ha but with other titles like The Squid and the Whale, you find yourself fighting the urge to punch those characters in the face.

So what's the situation with Baumbach's latest Mistress America? Perhaps to no one's surprise, many of the characters throughout rub you the wrong way. Though perhaps that's Baumbach's intention. People aren't perfect (far from it), and he wants to highlight each and every flaw that's humanly possible.

One has to admit that even with this regular feature, Baumbach knows how to write complex characters. (Mistress America was co-written with star Greta Gerwig.) He and Gerwig don't sugarcoat any detail within the characters' lives though there's a tendency to glorify the bad more than the good. And what appears to be the makings of the now-overused manic pixie dream girl archetype is promptly destroyed as the film wears on.

And the work from Gerwig and Lola Kirke prove that there are well-written roles for actresses if writers are up for the task. (Often times they aren't.) Honestly, we live in an era where progress for equality is still ongoing. You'd think by now there would be better opportunities for women in various fields of profession. (Guess not.)

Anyway, back to Mistress America. It's no Frances Ha but it does have its moments. The dialogue's quick pace is reminiscent of Howard Hawks and the characters' antics could be likened to those in your average Ernst Lubitsch film. It's nothing groundbreaking but Mistress America is certainly worth a look.

My Rating: ****

Frances Ha

As some of you may know, life after college isn't particularly easy. Employment, rent, taxes, relationships...it can be pretty daunting. (I don't know this from my own experiences but I sense my sister will be encountering such occurrences in the near future.)

Now many films on this very topic usually overplay the personal dramas one encounters. Just because your life isn't in order doesn't mean it absolutely terrible. Graciously, Noah Baumbach stays very much away from that cliche with his new film Frances Ha. Starring Greta Gerwig (who also co-wrote it), the films shows that even if life isn't great, there can be a few bright spots.

It's interesting. The last (and, I'll admit, only other) Baumbach film I saw was The Squid and the Whale where very few -- no, scratch that -- none of the main characters were likable. (And from what I heard, that's common amongst Baumbach's work.) The reverse is one of Frances Ha's best qualities. You like Frances from beginning to end.

And it's Gerwig's performance that is to thank. It's subtle yet expressive, quiet but observant. I can sense that Gerwig will be working for some time thanks in part to this film, but I also hope that this is a performance remembered by the awards circuit.

Frances Ha is a really charming film. It has what so many films are so clearly missing: a heart. (Ironic since, as pointed out above, Baumbach's films often feature heartless characters.) If it's playing at a theatre near you, go see it.

My Rating: *****

The Squid and the Whale

Recently I've been taking an interest in rising stars. I've come across with several just this year alone (Carey Mulligan, Jeremy Renner, Ben Foster, Andrew Garfield, Jesse Eisenberg), all of which had me wondering what their careers hold for them.

After their parents Bernard (Jeff Daniels) and Joan (Laura Linney) announce their divorce, brothers Frank (Owen Kline) and Walt Berkman (Eisenberg) have different ways of coping with the sudden news.

I'm not sure where to place the main characters. On the one hand, they're pains in the neck; on the other hand, you kinda relate with them. I particularly liked Eisenberg's work in The Squid and the Whale the most (Daniels is a close second). It's a quirky semi-autobiographical tale from Noah Baumbach that is both funny and caring.

My Rating: ****1/2