After a string of lesser offerings Adam Driver is back in form. In this odd mishmash of tones and genres he is absolutely electric, almost balletic in how he weaves and flows through scenes. It's as if he is in the preferable zone throughout the entire film. No moment or gesture or line is wasted, there is no moment in which he is not present, he knows when and exactly how to modulate his performance to guide is through the ever shifting comedy-drama-scifi-thriller-romance. It is almost the opposite of his other career highlight Paterson where he channeled a kind stillness, here it is all momentum, all verbosity, but still with an unshakable compelling humanity. Gerwig is overshadowed, has less to do, and doesn't seem as comfortable with tone, she isn't bad but(especially comparatively) it is not particularly inspired. Their kids all give good turns, especially Raffey Cassidy as the eldest daughter, but it is unarguably Driver's film. Cheadle, in a supporting turn that matches Driver, plays his friend and co-worker and defacto narrator. He is also stupendous, letting the rich dialog flow through him with a melodious assuredy.
Impeccable, immersive production design reminiscent of a less fastidious Wes Anderson elevate this beyond much of writer/director Noah Baumbach recent movies of upper class Manhattanite ennui to something actually interesting(as does the story itself). Forgoing his recent penchant for 'realism' the film is a delightful smorgasbord of tone, stylized overlapping dialogue, and plenty of metaphor and social commentary to boot. It doesn't always work, it doesn't always make sense, but it reflects a wonderful, thrilling ambition. In adapting "unfilmable" popular period novels this puts Inherent Vice to shame.
A bizarre, challenging film, that still entertains and ultimately remains unflinchingly optimistic.
Currently in theaters, coming soon to Netflix.
See It.
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