(2016) Dramedy (Caterpillar Event) Jennifer Lafleur, Maryann Plunkett, Eilis Cahill, Mark Reeb, Conor Casey, Chris Doubek, Nathan Harlan, Shaun Weiss, Robert G. Putka, Claire McNulty, David Sullivan, Ty Gebler, Avery Gebler, Ern Gerardo, Spencer Tuckerman, Lyndon Casey, Lori Allen, Debbie Scarletta. Directed by Robert G. Putka
A lot of us, at one time or another, are convinced that our parents are crazy. Once in awhile, it turns out to be true.
Mel (Plunkett) has lost it a little. Freshly divorced, she has become more than a handful that her adult daughters Connie (Lafleur) and Casey (Cahill) just can’t handle. Connie is the “responsible” one, an executive for a financial firm with a husband and child, not to mention a kind of shrewish demeanor. She interrogates her mother more than converses with her. Casey, on the other hand, is the “artistic” one, who has floated through life without really settling on a career or a relationship. She’s sweet natured but she is often bullied by her older sister.
So the two daughters, basically unable or unwilling to take care of their mother who has some emotional issues, have her committed to a care facility where she can get the help she needs but before you think “right thing to do,” their motivations might not necessarily be pure; it may be the right thing to do in many ways but it’s also the convenient thing to do for both of them.
So the two daughters go on their merry while mom goes through bouts of intense loneliness and feelings of abandonment while enduring group therapy and living among people who are in far more dire straits emotionally/mentally speaking than she is. While this is going on, both girls are undergoing radical changes in their lives; one is becoming much more level-headed and mature, the other ready to face the music for her own indiscretions. How does mom fit into their equations now?
This isn’t one of those movies that are a comfortable viewing. It pushes you and challenges you. Connie is a flat-out bitch at times while Casey will drive you crazy with her mousy behaviors. Even Mel, who sometimes seems befuddled, isn’t always the nicest and most identifiable character ever. How much you like this movie is going to depend a lot on your tolerance for spending time with people who aren’t always likable.
Now that’s not something I mind per se; I’ve had wonderful experiences with plenty of movies whose characters were people I wouldn’t want to spend ten minutes interacting with in real life. I don’t mind imperfect. What I do mind is predictable. The movie’s plot twists aren’t all that much of a stretch and the big one involving Connie is the only one I really didn’t see coming, but even that one was, once it hit, fairly pedestrian in its outcome. For movies like this to work, I need an element of surprise.
Another bone to pick is that I don’t think the writers did their research very well. The crime they described, for one thing, is not called trade rigging; it is called insider trading and it is not an anti-trust issue, which it is depicted as in the film. Any financial professional could have told them that insider trading is a securities fraud issue.
While a few scenes (particularly those showing Connie at home with her family) seemed a bit padded, overall the pacing is handled well and the transitions from one portion of the film to the next are handled with some finesse. What stands out about the movie is that it really drills down into the complex nature of mother-daughter relationships and creates some real, organic ties between Mel and her two daughters. Unfortunately the situations seem a little bit contrived and I would have preferred the characters to be a bit more realistic.
There are people I respect who found this to be one of the better films presented at this year’s Florida Film Festival and I can kind of see where they’re coming from, but the flaws I perceived were too much for the movie’s strengths to overcome. I think that there are some good films in Putka, but for me, this one will act more as a stepping stone to better movies in his career.
REASONS TO GO: Really captures the complicated nature of mother-daughter relationships. The transitions from scene to scene work nicely.
REASONS TO STAY: Some of the scenes of domestic bliss are a bit long. A bit on the predictable side and occasionally seems a bit emotionally flat.
FAMILY VALUES: There is some sexuality including sexual references as well as some profanity.
TRIVIAL PURSUIT: This is the feature film debut of Putka whose prior seven short films had all been rejected by Slamdance before the feature was accepted.
CRITICAL MASS: As of 4/15/16: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Parenthood
FINAL RATING: 5.5/10
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