(2021) Drama (Argot) Kate Mulgrew, Richard Kind, Ian Kahn, Jackie Burns, Daniel Eric Gold, Shoshannah Stern, Barbara Barrie, Lauren Ridloff, Melissa Errico, Greg Keller, Neal Huff, Lilly Stein, Kate MacCluggage, Ajay Naidu, Terrence Gray, Talia Oppenheimer, Sarah Nealis, Andrew Hovelson, Allyson Morgan, Bryan Fitzgerald, Anna Dale Robinson, Athan Sporek, Henny Russell. Directed by Evan Oppenheimer
Through thick and thin, we rely on our family to provide support and stability. Even when the family is beset by traumatic circumstances, we cling to those that we can be certain still love us. It is as a life raft on a stormy sea.
Dr. Terri Meyerson (Mulgrew) is a pediatric oncologist and the matriarch of the Meyerson family. She sometimes wonders why on earth she took a job that sometimes entails telling parents that their child is about to die, but she manages to take her role with as much grace and dignity as she can muster, both of which were once stripped from her when her husband, Morty (Kind), deserted the family to deal with a mental illness. At the time, he flippantly told her “see you in a few days” but has been gone for decades.
She has her mother Celeste (Barrie), an acerbic sharp-tongued octogenarian who loves her grandkids (and great-grandkids) but that doesn’t keep her from taking jabs at them. And of course, Terri has her kids; Roland (Kahn), the eldest, a successful businessman and a bit of a hypochondriac when it comes to his daughter Stefania (T. Oppenheimer); Daphne (Burns), a publisher married to Alan (Keller) who has just terminated her pregnancy without consulting her husband, a source of contention between them; Susie (Stern), a deaf real-estate agent who is in a relationship with Tammy (Ridloff), and finally Daniel (Gold), who is studying to be a rabbi and often gets into theological discussions with Catholic priest Father Joe (Duff).
It seems to be an ordinary day in New York City, but events turn it into an extraordinary one; the first affects all New Yorkers (heck, it affects everyone) and the second, just the Meyersons. Both seem to be unlikely, but both are events that all the Meyersons will have to deal with – in each his or her own way.
This is a movie very much influenced by New York City. The Meyersons are well-educated, literate and thoughtful, one and all. They talk about meaningful things and ask deep questions of one another. They are, in short, searching for answers to imponderable questions and understand deep down that they aren’t likely to get any. The dialogue they speak reflects that literacy, and may at times be too smart for its own good – the Meyersons can come off as pretentious from time to time, which let’s face it can be true of an awful lot of New Yorkers, but that’s what comes from living in a city like New York. They at least come by it honestly.
The ensemble cast is, as is normally the case with ensembles, dominated by the more experienced actors. The most delightful is Barrie, who has already been nominated for nearly every major acting award at one time or another. She is the scene-stealer here, and you end up looking forward to her every appearance. Mulgrew does nearly as well in her most Janeway-like role since Star Trek: Voyager ended. Terri is a little more vulnerable than the starship captain, however, although she covers it with a patina of competency that comes from her profession. I would have liked to have seen a bit more of that side of her though. Kind also does well here, being genuinely cuddly when he needs to be and somewhat lost and befudled when he has to be. He doesn’t overdo the pathos, which lesser actors might have done.
The actors playing the kids get the lions share of the screen time though, and while they all submit strong performances, none really stand out the way the other three do. They are given a lot of fairly lofty dialogue, discussing their place in the universe, relationships with God, with each other, and from time to time, the open wound that was left by their father leaving the family.
And I wish they had stuck to that story. The first “event” I referred to earlier – the one that affects “everyone,” seems terribly out of place in the movie. I understand the reason that they chose to do it, but it flat-out doesn’t work. It ends up being a massive distraction and strays away from the more important themes here – specifically, the ability to reconcile when one is wounded by someone beyond forgiveness, and whether those who stray from the family can find their way back again. Those are subjects far more in tune with the tone of the movie and had writer/director Evan Oppenheimer opted to stick with just that, he would have had a terrific film on his hands. He still does, but not quite as terrific as it might have been.
REASONS TO SEE: Smart dialogue gives hints of deep conversations. Strong performances by most of the ensemble, with Barbara Barrie emerging from the pack.
REASONS TO AVOID: The midpoint plot twist was regrettable and unnecessary.
FAMILY VALUES: There is some profanity.
TRIVIAL PURSUITS: Mulgrew, who originated the role of Captain Kathryn Janeway on Star Trek: Voyager, will be reprising the role in the new children’s animated series Star Trek: Prodigy, debuting next month on Paramount Plus.
CRITICAL MASS: As of 9/23/21: Rotten Tomatoes: No score yet; Metacritic: No score yet.
COMPARISON SHOPPING: The Royal Tenenbaums
FINAL RATING: 7/10
NEXT: Ellie & Abbie (& Ellie’s Dead Aunt)