(2012) Dramedy (Fox Searchlight) Greta Gerwig, Joel Kinnaman, Zoe Lister-Jones, Hamish Linklater, Bill Pullman, Debra Winger, Ebon Moss-Bachrach, Jay Pharoah, Maria Dizzia, Cheyenne Jackson, Parisa Fitz-Henley, Jonathan Sale, Adriane Lennox. Directed by Daryl Wein
The rite of passage as we turn 30 isn’t a ceremonial one nor is it even one we even are aware we’re doing. When we’re in our 20s we can be wild, but as we enter our 30s the responsibilities of job, family and relationship put dampers on our tendencies to party like, well, 20-somethings.
Lola (Gerwig) is 29 years old and life is a bowl of cherries. She’s working on her doctoral dissertation and planning a wedding to her artist boyfriend Luke (Kinnaman) who is handsome and sexy and adores her. Her BFF Alice (Lister-Jones) kvetches constantly about her own inability to attract a guy. She and her ex Henry (Linklater) are Lola’s support system.
Lola is going to need it too when just a few weeks before the wedding, Luke bails on the marriage – and on the relationship. Lola is devastated, comforted by her parents (Pullman, Winger) who are a couple of ex-hippies with a possibly kooky New Age outlook but warm hearts beneath the jargon.
Lola is urged to stop moping and obsessing on Luke and starts to go out with other men. She develops a deep friendship with Henry which both seem to want to take further but neither seem to be able to find a way to make it work. Lola winds up having sex with Luke, then with a creepy prison architect (Moss-Bachrach) with a large….um…well, you can guess.
Lola is a sweet girl but as she approaches birthday number thirty, she is making some fairly egregious mistakes – some out of awkwardness but some in an effort to hurt. She alienates some of her friends, particularly when she begins to realize that of all of them she’s the only one who is truly alone.
For those who love indie hipster romantic comedies with a serious undertone, this is right up your alley. Gerwig has become an indie film darling (much like Parker Posey and Zooey Deschanel have been). She tends to play slightly neurotic but ultimately good-hearted sorts who have difficulties with relationships. The neurotic part utilizes her comedic skills, which are considerable; the good-hearted part engenders audience identification. While most of her parts seem to have been limited to girlfriend types, Gerwig is a talent with a future.
Sadly, she isn’t given much to work with here. It seems like it was written in an Indie Film 101 course with all the clichés that one finds in the average independent film. Artistic types living in Manhattan lofts they couldn’t possibly afford, check. An apparently unlimited income that comes in from no discernible job, check. Quirky friends, check. Montages set to indie music, check. Spiffy dialogue that nobody really talks like, check. A haughty New York-centricity that looks down on all other locations as vastly inferior, check. It all has a kind of been there done that feel.
This is a movie that is too hip for its own good. It’s not that I have anything against being hip, I just feel that it’s a bit overexposed. I’d rather see a few movies that have nothing to do with artists living in lofts, are located anywhere but New York and have characters and dialogue that aren’t clever. I like Gerwig (and Lister-Jones has some good moments as well) but by and large, this just left me flat.
REASONS TO GO: Frank about female sexuality. Gerwig is extremely likable.
REASONS TO STAY: A little too indie hipster for its own good. Might make those who find sex objectionable uncomfortable.
FAMILY VALUES: There is a great deal of sexuality, plenty of cursing, some drinking and drug use as well.
TRIVIAL PURSUIT: Lister-Jones co-wrote the screenplay with Wein.
CRITICAL MASS: As of 6/27/12: Rotten Tomatoes: 37% positive reviews. Metacritic: 49/100. The reviews are more or less mixed.
COMPARISON SHOPPING: Tiny Furniture
MACROBIOTIC FOOD LOVERS: Lola’s parents own a vegan restaurant and throughout Lola mostly eats and snacks on macrobiotic and raw food.
FINAL RATING: 4/10
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