Together


Apparently the pandemic CAN be used as couples therapy.

(2021) Drama (Bleecker Street) James McAvoy, Sharon Horgan, Samuel Logan. Directed by Stephen Daldry and Justin Martin

 

The pandemic is, in some ways, a screenwriter’s dream. It is a situation everyone on the planet is affected by, something we all can relate to. As more and more movies come out set during lockdowns and quarantines, the question becomes whether we are exploring the topic too soon (as even now we are suffering through a surge in Delta variant cases) or whether what we have to say at this point is premature.

A brief rant before I commence – I have always found the trope of not naming the characters to be more pretentious than anything. Yes, I get that they are supposed to be “everymen” and “everywomen” for the sake of the narrative, but it’s more or less a cop-out these days. Give your characters names, and not just for the convenience of the critics either – it’s disrespectful to the audience. End rant.

An unnamed couple (grrr!), played by Horgan and McAvoy, are thrown together by the lockdown in England. They are an upper middle class couple who couldn’t be more different; he’s a conservative entrepreneur who doesn’t have much use for what he calls “the chattering class,” while she’s a progressive liberal who is an executive for a non-profit. But they have a young ten-year-old special needs kid named Artie (Logan) together, and – not for nothing – they hate each other’s guts. The only thing keeping them from going their separate ways is Artie.

The movie takes place from day one of the English lockdown into the spring of 2021. Things are divided into chapters which are delineated by what day of the lockdown it is, and how many deaths from COVID have been recorded in England by that date, which seems to be a not-so-veiled swipe at the Boris Johnson administration (it gets not-so-veiled during a Horgan monologue later in the movie).

Most of the dialogue is delivered at the camera, as if you’re a friend or relative on Zoom, and the couple are making their case for why the other one is the reason the marriage is in trouble. That is punctuated with often heart-rending monologues – in Horgan’s case, the absolutely horrific treatment her mother receives in a care home, while in McEvoy’s an encounter with an anti-masker that causes him to rethink things.

The acting here is superb. Given dialogue that is worthy of Aaron Sorkin. There is some snappy repartee and plenty of back-and-forth between the couple, who are often talking over each other in the way that couples do. That gives the film a kind of naturality that brings more authenticity to the movie than it otherwise might have. The screenplay was originally meant to be a stage play, but the practical complications of mounting a stage production during a pandemic led this to be turned into a movie, but it still retains some of its stage-y qualities. You don’t really notice them, however, because the acting and writing are both so damn good.

I’m not sure if this will end up being a time capsule of this period in history, or something that speaks to deeper truths in relationships. I tend to subscribe to the latter; there is a timelessness about the issues between the couple that are only framed by the pandemic rather than are caused by it. I was completely blown away by the emotional resonance that the film brought and recommend it thoroughly as one of the best movies of the year. If ever you needed an excuse to get out to the theaters, this movie is it.

REASONS TO SEE: Superior writing and direction. Natural performances from Morgan and McElroy, who is particularly impressive. A powerful, emotional time capsule of 2020-21.
REASONS TO AVOID: Not so sure using a pandemic as couples therapy is appropriate.
FAMILY VALUES: There is profanity throughout.
TRIVIAL PURSUIT: The film was shot in only ten days.
CRITICAL MASS: As of 8/29/2021: Rotten Tomatoes: 68% positive reviews; Metacritic: 57/100.
COMPARISON SHOPPING: Scenes from a Marriage
FINAL RATING: 9/10
NEXT:
The Fatal Raid

Perception (2019)


It doesn’t take a psychic to figure out what’s coming in Perception.

(2018) Thriller (Gravitas Ventures) Wes Ramsey, Meera Rohit Kumbhani, Caitlin Mehner, Max Jenkins, Jro, Vee Kumari, J. Barrett Cooper, Adam & Ali Zoumzoum, Valerie Jane Parker, Matthew Davis, Apollo Bacala, Kelly Mengelkoch, Takayla Williams, Tshombi Basemore, Davis Aguila, Daniel H. Shoemaker, Shaleen Cholera, John French, Sarah East. Directed by Ilana Rein

 

When we lose someone we care about, their spirit stays with us in a sense; they are on our mind as we hold on to their presence for as long as we can. We see them wherever we go; in memories and sometimes as apparitions from better days. We have a tendency to forget the bad memories but they’re there as well.

Daniel (Ramsey) is a high-powered go-getter at a bank that is foreclosing on a suburban shopping strip in L.A. that has seen better days. One of the last tenants of the strip mall is a palmistry shop. When a silent little boy named Hugo (Zoumzoum) stows away in Daniel’s SUV, he figures out that the boy might have come from the shop which, indeed, he has. His mom Nina (Kumbhani) is shocked – “he’s never done this kind of thing before,” she explains once she gets over the shock of seeing her boy with a complete stranger.

Out of a sense of gratitude she gives Daniel a free reading and tells him that he has a spirit attached to him, following him, someone recently deceased. “Your wife?” she inquires. In doing so, she hits a raw nerve. Maggie (Mehner) indeed passed away recently and Daniel is desperate to contact her, willing to pay anything if Nina can do the job for him. Nina’s business partner Jro (Jro) congratulates her on hooking what is an apparently wealthy fish and urges her to reel him in. In the meantime, Hugo is acting out in school and his teacher (East) suggests an expensive private school who can better take care of Hugo’s needs.

And so, Nina starts doing “sessions” with Daniel, even though she is shocked to discover that the spirit of Maggie is angry. “She’s in control,” Nina tells Daniel forthrightly, “She decides what memories she wants you to see.” Indeed, the memories of Maggie are not always pleasant but Daniel wants more. Nina is reluctant but she needs the money so she allows the sessions to go deeper but deeper is dangerous – much more dangerous than even she knows.

This thriller harkens back to the sort of psychosexual thrillers that were popular in the 90s, often as direct-to-VHS or cable. The supernatural element is never overplayed and although we see Maggie as a ghostly apparition once, mostly we see her in flashback.

Sadly, the script veers from what was a promising thriller into fairly cliché territory. Ramsey is a veteran soap opera actor and in some ways the sudsy froth of this script is likely familiar territory for him. Most of the acting performances are pretty strong, although as the movie reaches its climax Ramsey indulges in some serious scenery chewing. However, both Mehner and Kumbhani deliver strong performances and Jro delightfully steals the scenes that he appears in.

The pacing is pretty slow for most of the film and the script gives away a bit too much to make the big twist really effective. That’s the real shame; a little more imagination could have taken this film a long way. As it is it’s fairly mundane but not entirely without entertainment value.

REASONS TO SEE: The performances are for the most part decent.
REASONS TO AVOID: Slow-paced until the plot goes off the rails near the end.
FAMILY VALUES: There is profanity, violence, sexuality and nudity.
TRIVIAL PURSUIT: The film had its world premiere at the world-famous Cinerama Dome in Hollywood.
BEYOND THE THEATER: Amazon, Fandango Now, Google Play, iTunes, Microsoft, Redbox, Vimeo, Vudu, YouTube
CRITICAL MASS: As of 8/19/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: Dead Again
FINAL RATING: 5/10
NEXT:
Sicario: Day of the Soldado