ICMThem: The Good and the Bad of Recent Biopics

Film Stars Don’t Die in Liverpool

Annette BeningThis beneath-the-radar film directed by Paul McGuigan (script by Matt Greenhalgh) shows  the last days of Academy-Award-winning actress Gloria Grahame (trailer). In her final illness, she turns to a former lover, the much younger actor, Peter Turner, and the flashbacks about their relationship in its heyday are sparkling and fun. They knew how to enjoy life and each other.

Annette Bening makes a charming, sexy Grahame, riddled with vanities, and Jamie Bell is Turner—sincere and doing the right thing. One heart-rending moment of unselfish love and compassion from each of them. Julie Walters is excellent as Turner’s mother, unaccustomed to consorting with Hollywood stars, but able to establish a strong human connection.

Rotten Tomatoes Critics Rating 80%; audiences 71%.

Mark Felt: The Man Who Brought Down the White House

Mark Felt, Liam Neeson, phone boothWhile Watergate revelations piled up daily in the early 1970s, in all the excruciating details of high-level misdeeds, one mystery remained: Who was the high-ranking source, “Deep Throat”? Washington Post reporters gave this name to one of history’s most important whistle-blowers.

Thirty years later Americans learned the source had been Mark Felt, J. Edgar Hoover’s #2, the man expected to next head the FBI. Felt was aced out of the position by the White House when Hoover died unexpectedly. Were his actions revenge? Or more noble? I saw the film and cannot answer that.

This is great material about a consequential period. Too bad the filmmakers couldn’t make better use of it. Liam Neeson (Felt) looks cadaverous, and writer/director Peter Landesman gives the actors some really wooden dialog, offering little depth (trailer).

Rotten Tomatoes Critics Rating 35%; audiences 43%.


Marshall - Chadwick BosemanAnother biopic that doesn’t live up to its source material is Reginald Hudlin’s Marshall, written by Jacob and Michael Koskoff (trailer). Chadwick Boseman nicely plays Thurgood Marshall in his early days, fighting for equal treatment under the law for black Americans. He finds a litigation partner in a reluctant Sam Friedman (played by Josh Gad. The acting is fine, but the scenes and dialog are clichéd, and the rest of the characters two-dimensional.

End-titles mention the 33 cases Marshall argued before the Supreme Court—surely there were numerous episodes embedded in those cases that would bring new issues to light, more illuminating than the courtroom drama presented here: a black man accused of raping and trying to kill a white woman. It would have been interesting to see how the nation’s top court responded to civil rights issues, rather than the predictable provincial racism of a local justice system. We’ve seen that scenario before. Says critic Indra Arriaga in the Anchorage Press, “Marshall misses opportunity after opportunity to be truthful and relevant in the world today.”

Rotten Tomatoes Critics Rating: 83%; audiences 85%.

Read the Book?

Award-Nominated Movies: The Shape of Water & The Greatest Showman

Shape of WaterThe Shape of Water
The acting alone is a good reason to see writer-director Guillermo del Toro’s romantic fantasy (trailer), written with Vanessa Taylor, although the origins of the story are now in dispute. The film received 13 Academy Award nominations, the most for any 2017 movie, including best picture, writing, directing, best actress, best supporting actor and actress (Jenkins and Spencer), cinematography, and costumes.

Elisa Esposito (played by Sally Hawkins, who was terrific last year in Maudie) plays a mute young woman who, with her friend Zelda (Octavia Spencer), is a cleaner at a sketchy 1960s military research facility. The researchers bring in a merman-like creature (the unrecognizable Doug Jones) found in the Amazon, whom they mistreat, believing him violent, but whom Elisa befriends. If you’ve seen the previews, you get the idea.

Playing the heavy is a furious Michael Shannon,  Elisa’s neighbor and friend is Richard Jenkins, and a scientist more interested in saving the “monster” than killing him is Michael Stuhlbarg. All three are super!

Even if you aren’t a fantasy fan, there’s lots of drama and a warm core to this film you may enjoy. I did. As “an enchanting reimagining of ‘Beauty and the Beast,’ it is an unforgettably romantic, utterly sublime, dazzling phantasmagoria,” said Colin Covert, reviewer for the Minneapolis Star Tribune.

Rotten Tomatoes critics’ rating: 92%; audiences, 78%.

Greatest Showman The Greatest Showman
By contrast, this movie musical of the P.T. Barnum story (trailer) directed by Michael Gracey disappointed, especially because the songs were by Benj Pasek and Justin Paul (fellow U-Mich grads!) who wrote lyrics for La La Land and music and lyrics for the Tony-winning Broadway hit, Dear Evan Hansen.

Talented Hugh Jackman (as Barnum) sells it, but there’s little “it” there. He apparently wanted to do Barnum’s story for some time, but couldn’t get backing. Although the film received three Golden Globe nominations (best musical or comedy, best actor in a musical or comedy for Jackman) and won for best song (Pasek and Paul), Oscar took a pass.

You may enjoy the movie’s spectacle aspects, but it will require you to pause your brain. Plot holes make it hard to stay interested in the story, which is in part Barnum’s highly fictionalized career and in part the love story between him and his wife (nicely played by Michelle Williams).

OK, it’s a musical, so it’s the musical numbers that should shine. The pop-music songs were just bearable until Barnum met The Swedish Nightingale, Jenny Lind (Rebecca Ferguson). She has an eye-roller of a pop number (lip-synced, by the way; the real singer is Loren Allred), so contrary to how an internationally famous singer in 1850 would have sounded that the artifice of the whole production collapses under its own absurdity. As San Francisco Chronicle reviewer Mick LaSalle wrote, “It’s an awful mess, but it’s flashy,” calling it “The perfect realization of a really bad idea.”

Rotten Tomatoes critics rating: 55%; audiences: 89%.

Phantom Thread

Phantom Thread

Day-Lewis & Krieps in Phantom Thread

If this is indeed Daniel Day-Lewis’s last film, writer-director Paul Thomas Anderson’s new movie (trailer) turns out to be an odd swan song. Apparently the idea it would be his last came over Day-Lewis in reaction to this character, for reasons he can’t quite explain, but perhaps related to the draining intensity with which he prepares for his roles.

Reynolds Woodcock, the British fashion designer Day-Lewis plays, doesn’t display the physical energy of Hawkeye (in one of my favorite movies of all time, The Last of the Mohicans) or the agonizing choices facing Abraham Lincoln, or the disturbing intensity of knife-throwing Bill “The Butcher” in Gangs of New York. Woodcock’s challenge, a drive for perfection, comes not from circumstances, but eats him from within.

Woodcock is a fastidious, often languid character. Some of the dialog was included in a radio review, and I was struck by how slooowly Day-Lewis spoke and the long pauses between utterances. You’re less aware of that watching him, of course, because even when he’s not speaking, he’s doing a lot. The eyebrow, the little smile, the internal consideration, the piercing glance, the innate elegance. While the acting is wonderful, the character Woodcock is not especially likeable, and Day-Lewis is too honest an actor to try to make him so.

Woodcock runs his domain—domestic and commercial—his way, as a well turned out obsessive. He cannot abide a disturbance at breakfast or his whole day is ruined. When his new lady-love Alma (played by Vicky Krieps) scrapes the burnt bits from her toast (with a microphone hidden in the jam-pot, surely), it’s fingernails-on-the-blackboard for the entire audience.

The Fitzroy Square townhouse where he lives and conducts business is presided over by his sister Cyril (Lesley Manville), who knows exactly how to keep order. Is she a benign presence or an over-protective monster? Even she is thwarted when Alma realizes that, to keep her man, she must bring him low.

The production team had fun—Woodcock’s breakneck driving trips (an uncharacteristic unleashing of spirit), the 1950s ambience, the workshop with its dowdy middle-aged women—seamstresses in real life—producing fabulous garments they could and would never wear. Day-Lewis himself spent many months studying the craft of clothing design, and director Anderson has remarked on the actor’s fine hands, able to do work believably, to sew.

Fashion historian Alistair O’Neill has commented that the rich satin fabrics used remind him of Charles James’s post-war designs. (Luscious show about James at the Metropolitan Museum in 2014.) In its workshop and showroom scenes, the film eerily echoes the PBS mini-series, The Collection, which aired last fall. Couture in the 1950s is an infrequent setting for drama; is it the hive mind that inspires two such resonant efforts in the same few months?

The film has garnered six Academy Award nominations—best picture, actor (Day-Lewis), director, supporting actress (Manville), score, and costume design. If Mark Bridges hadn’t received that last, well-deserved nomination, surely he would have retired.

Rotten Tomatoes critics rating: 92%; audiences, 70%.

The Post

The Post, Meryl StreepI really wanted to love this movie (trailer). It has everything I like—a story about important principles, two impeccable stars and a terrific supporting cast, a newsroom setting. Director Steven Spielberg had much so much good stuff to work with—including a decent script by Liz Hannah and Josh Singer—why wasn’t it better?

One of the team’s great decisions is to present Katherine Graham (played by Meryl Streep) not as a hard-nosed, successful businesswoman, but one growing into a not-always-comfortable role as publisher of the Washington Post (a position first held by her father, then her late husband). In 1971, when Daniel Ellsberg (Matthew Rhys) steals the Pentagon Papers, thousands of pages of documents that recount the government’s decades of deception about the Vietnam War, Graham faces a fateful choice of tremendous consequence: will the Post will publish stories based on these top secret documents?

On one hand, the paper’s editor, Ben Bradlee (Tom Hanks), and the newsroom staff are pushing to publish. For them, it’s a “freedom of the press” issue, a riveting story, and they’re racing the clock to get in the game.

On the other hand, her business advisors (notably, Tracy Letts as Fritz Beebe and Bradley Whitford as Arthur Parsons) and the Nixon Administration oppose publication, which is risky on several counts. First is legal jeopardy: already the Justice Department has taken the rival New York Times to court on the matter. Barring the Times from publishing more, at least temporarily, opens the door for the Post. Then there’s financial jeopardy: the bankers who backed the Post’s recent stock offering are threatening to pull out if the paper goes ahead.

Graham’s personal relations further muddy the waters. She’s been friends for years with people who the Pentagon Papers show participated in the war deception, notably former Defense Secretary Robert McNamara (Bruce Greenwood). Is she respecting her family legacy by publishing or by holding back? In the end, of course, her decision sets the stage for the Post’s becoming one of the nation’s premier newspapers.

The newsroom Spielberg and the reporters create is an exciting place. As Bilge Ebiri said in the Village Voice, “I started crying the first time I saw Tom Hanks’s Ben Bradlee walk through a bustling, thriving newsroom . . . a whole world that’s been lost.” It’s also fun to see the newspaper produced the old-fashioned way: linotype machines and hot lead. Victory is in the air when the Post’s trucks roll out of the printing plant in the early morning mist.

So what’s the problem? Why isn’t this movie more satisfying? For me, it’s because the central question—will she or won’t she?—is one we already know the answer to. It’s the scenes where we don’t know the outcome, like the powerful one where Graham confronts her old friend McNamara, that are the most compelling. Given that, drawing out her dithering (despite how expertly Streep dithers) seems, finally, fake. For a contrast, consider the movie Spotlight. Again, we know the Globe reporters get the priest abuse story, but every interview had qualities of uncertainty about it. It was a puzzle painstakingly assembled in front of our eyes.

I also could have done without the tepid and too-stagy anti-war demonstrations and the bevy of eager young women waiting for Graham as she leaves the U.S. Supreme Court building. The point about her pioneering in a male world had been already made, much more effectively.

Nevertheless, in 2018, the story provides a vital reminder about the ongoing and urgent need for an unfettered news media to hold people in power to account.

Rotten Tomatoes critics rating: 88%; audiences 74%.

Lady Bird & I, Tonya

Both these movies have garnered impressive award nominations, but if you have “mommy issues,” you may want to make a different pick.

Saoirse Ronan & Laurie Metcalf in Lady Bird

Lady Bird

Written and directed by Greta Gerwig (trailer), Lady Bird is beautifully portrayed by Saoirse Ronan (Golden Globe winner) as teenage Lady Bird and painfully so by Laurie Metcalf (Golden Globe nominee) as her mother. The mother, apparently a psychiatric nurse, has a remarkably limited array of skills in dealing with her adolescent daughter. She certainly knows how to criticize and brow-beat, though, even as she hates the words coming out of her mouth.

Tracy Letts is a huggable, mostly ineffectual father, Lucas Hedges and Timothée Chalamet are Lady Bird’s early, disastrous loves, and Beanie Feldstein and Odeya Rush are sometime high school besties at opposite ends of the cool-kids spectrum.

Attending a Catholic girls school and desperate to escape Sacramento, Lady Bird’s determination to fly to more receptive, less suffocating surroundings will resonate with many (especially female) viewers. For economic and so many other reasons, her mother is determined she stay. The importance of this quest must have touched a chord with critics and with audiences, as it won the Golden Globe for best comedy, and Gerwig was nominated for the screenplay.

Rotten Tomatoes critics rating: a whopping 99%; audiences: 82%.

I, Tonya

Margot Robbie as Tonya Harding

Director Craig Gillespie’s Golden Globe-nominated biopic about national figure-skating champion Tonya Harding—who never fit the little princess image of the figure skater, nor wanted to—takes the mommy problem to another level (trailer).

Tonya (Margot Robbie, Golden Globe nomination) is raised by a chain-smoking mother (Allison Janney, Golden Globe winner) who never gave an inch and wasn’t above hitting Tonya when her words didn’t cut deep enough. Tonya’s eventual “escape” was into a violent marriage with Jeff Gillooly (Sebastian Stan).

This movie is also billed as a comedy, oddly, though Gillooly’s inept friend Shawn (Paul Walter Hauser), who’s convinced himself he’s an international terrorism expert, and the media personality played by Bobby Cannavale are hilarious. The plans to mess with Tonya’s competitor Nancy Kerrigan go wildly awry—but would be funny only to people who don’t understand the many sacrifices and tremendous effort necessary to skate at her level.

The script written by Steven Rogers is compassionate toward Tonya and based on lengthy current-day interviews with the principals—do you wonder, has she changed?—who promise to reveal what “really” happened in Tonya’s life. Their conflicting stories are, of course, riddled with self-justification, leaving you to decide whom to believe. It’s not much of a spoiler to say you won’t believe the mother.

If you remember the 1994 attack on Nancy Kerrigan at the national figure-skating championships in Detroit (I was there!), orchestrated by Gillooly, the movie may make you think differently about that incident. Tonya was never loveable; now we know why.

Rotten Tomatoes critics rating: 89%.

Three Billboards Outside Ebbing, Missouri

Three Billboards outside Ebbing, MissouriOn a drive through the American South some years ago, British writer-director Martin McDonagh saw a set of billboards that challenged the authorities similar to the way the sheriff of Ebbing, Missouri, is challenged in this film (trailer). The rage they embodied stayed with him, and although this film is billed as a black comedy, don’t go looking for belly laughs. Its true subject is heartbreak.

With an intelligent script that’s perhaps a few minutes too long, McDonagh’s characters’ actions impinge on others like billiard balls knocking about on the table. Mildred Hayes (played by Frances McDormand—a genius at portraying tough, uncompromising women) intends for her actions to affect others when she pays for three billboards to be pasted up on a remote stretch of road outside town, blood red and anger-filled: “Raped While Dying. And Still No Arrests? How Come, Sheriff Willoughby?” Guilt and anger are written just as clearly on her unsmiling face.

The sheriff’s deputies, accustomed to have their way in all local matters, great and small, are offended. They want her to take them down. Of course she won’t. One of them, Jason Dixon (Sam Rockwell) is an overgrown boy, prey to his every violent whim and McDonagh gives him a complex character arc.

Sheriff Willoughby (Woody Harrelson) has other troubles on his mind and, while it’s true he hasn’t made progress in solving Angela Hayes’s murder, it isn’t true that he hasn’t tried. Although his place in their world is the slipperiest, he has the best sense of what that place is.

Several supporting roles are equally powerful (I especially liked Mildred’s ex-husband’s new girlfriend), and there are some laughs—people being their natural selves can be hilarious, usually without realizing it. Though a broken heart manifests itself differently in all three main characters, it’s Sheriff Willoughby who points the way to healing. Already the film has received numerous awards and nominations, including the Golden Globe for best motion picture drama, with Frances McDormand, Sam Rockwell, and Martin McDonagh (screenplay) winners too. Well worth the time.

Rotten Tomatoes critics’ rating: 93%; audiences: 87%.

Darkest Hour

Perhaps you feel about Churchilled out, what with Netflix’s The Crown and his memorable words floating over the disheartened British soldiers in Dunkirk, but director Joe Wright’s new film (trailer) is absolutely mesmerizing. I wish the film had gone on to present the whole rest of the war as vividly and thoughtfully, not just those desperate early days of the title.

Gary Oldman as Winston looks more the role than did John Lithgow, but the power of his performance comes from truly inhabiting the part and having a script by Anthony McCarten that shuns the clichés. Kristin Scott Thomas is brilliant as Churchill’s ever-supportive wife Clementine (resembling not a little Harriet Walter in The Crown). Lily James (Downton Abbey’s Rose, brunette this time) is sweet as his long-suffering secretary Elizabeth.

What this film provides that so many gloss over is scrupulous candor about the political facts facing Churchill. He was a compromise candidate for the role of Prime Minister, and people in his own party mistrusted him. They didn’t want him. The king didn’t want him. His predecessor, Neville Chamberlain (Ronald Pickup), and a strong faction, led by Lord Halifax (Stephen Dillane), advocated a peace deal with Hitler, which Churchill adamantly opposed.

While today’s viewers may side with Churchill on the question of whether a good treaty could have been achieved with the dictator, Wright never over-eggs the pudding by weakening Halifax’s arguments. Both sides of this consequential debate are principled and passionate.

Churchill was new and shaky in his position, the entire British army was stranded at Dunkirk, the European countries were overrun, France was about to fall, and America could not help (yet). It was truly Britain’s Darkest Hour.  How the PM deals with it all reflected his genius. “If it’s a history lesson,” says reviewer Godfrey Cheshire at RogerEbert.com, “it’s one that plays like a tightly wound, pulse-pounding thriller.”

And Bruno Delbonnel’s cinematography offers many nice touches, too. The slow-motion views of people in the street (which you realize is Churchill’s view as he passes in his car), the isolation of the elevators, the pockmarked French countryside from the air. Wonderful.

Rotten Tomatoes critics’ rating: 84% ; audiences: 83%.

A Fresh Crop of Movies Based on 2017 Books

Los Angeles, Hollywood

photo: James Gubera, creative commons license

I wish a bang-up movie would be made from James Joyce’s Ulysses, so I could watch it and no longer feel guilty I’ve never read this nearly 700-page classic. OK, I’m a heretic.

As for lesser works, this same time-saving compulsion makes me glad Paula Hawkins’s new book, Into the Water, is among the 2017 novels being prepped for the tv or the movies. Having seen the film of her so-so debut, The Girl on the Train, I don’t want to spend more than two hours on the new story, if that.

Shayna Murphy in the BookBub Blog has compiled a list of 22 recent books en route to screens large and small. No surprise that Stephen King’s 700+ page Sleeping Beauties, written with his younger son Owen, is on the list, despite tepid reviews. Ditto James Patterson and David Ellis’s Black Book, whose protagonists and plot Kirkus Reviews deemed “more memorable than Patterson’s managed in quite a while.”

I’m delighted that Reese Witherspoon’s production company snapped up Celeste Ng’s Little Fires Everywhere for television. Like her remarkable earlier mystery, Everything I Never Told You, it’s about family secrets under the deceptively placid surface of suburbia. I’m also excited about plans for a movie of Artemis—another futuristic tale by Andy Weir, whose book The Martian translated so effectively to film in 2015—and George Saunders’s Lincoln in the Bardo, set in our Civil War past, which won this year’s Man Booker Prize. I hope Hollywood doesn’t make a hash of them.

Some critics considered Don Winslow’s disappointing book The Force to have been a victim of early interest in making a movie out of it. The characters turned to cardboard and the complexity of his much better The Cartel went out the window. In his story, Manhattan reveals itself to be top-to-bottom corrupt, unbelievably so. And, yes, that movie is coming 3/1/19. Maybe playwright David Mamet can save it.

Two fine literary authors are in the movie mix: Alice McDermott for The Ninth Hour and Jennifer Egan for Manhattan Beach. About this book, Alexandra Schwartz writes that, to Egan, 9/11 felt “like the end of something—the United States’ sense of itself as king of the world” and the new book, set in Brooklyn in the 1930s and 40s, was a backwards look to “what was the beginning of that something.” My book group loved Fredrik Backman’s A Man called Ove, which I didn’t have a chance to read (or see on film), and now a television series is planned for his book, Beartown.

All in all, some tantalizing screen-time coming up.

Weekend Movie Picks: LBJ & Battle of the Sexes

Spanning the short period 1960 to 1973, these two movies are based on real events—political, in the largest sense, and human, with their subjects’ vulnerabilities and strengths on view on a very public stage.


LBJ - HarrelsonWoody Harrelson as LBJ? Actually, the Texas actor does a fine job in this eponymous movie written by Joey Hartstone and directed by Rob Reiner (trailer). When it comes to the history depicted, this film gets it more right than most, partly because Reiner took the time to read and absorb the Robert Caro and Doris Kearns Goodwin histories.

In 1960, LBJ is a genius in the Senate, though he’s profane, even vulgar, the opposite of the Kennedy clan. Johnson won’t say whether he plans to run for president in 1960 because, his aides suggest, “he’s afraid he’ll lose.” Lady Bird (played by Jennifer Jason Leigh) overhears and corrects them: “He’s afraid people won’t love him.”

When Jack Kennedy (Jeffrey Donovan) surprisingly asks the Texan to become his vice president, Johnson accepts. You think it may be as much to tweak Bobby Kennedy (Michael Stahl-David), who obviously loathes him, as anything else. One of the most uncomfortable scenes occurs when he corners Bobby in a door alcove and says, “Bobby, why don’t you like me?”

Johnson never expects this office will be a sure path to the presidency, especially not after a mere thousand days. Seeing how the public loves Jack, and the outpouring of grief after the assassination, he apparently decides the best way to make people love him is to pursue Kennedy’s policy relentlessly. And, thankfully, he did.

That decision brought us new Civil Rights laws, the War on Poverty, Medicare, Medicaid, Head Start—and, tragically, the full-on Vietnam War. (The War just received the full Ken Burns treatment and isn’t touched on much here.) He achieves those programs by continuing his masterful managing of the Senate, personalized here by Texas Senator Ralph Yarborough (Bill Pullman) and Georgia Senator Richard Russell (Richard Jenkins).

Though the critics are cool to it, for the accurate history and some fine performances, it’s nevertheless worth seeing.

Rotten Tomatoes critics rating: 52%; audiences 64%.

Battle of the Sexes

Battle of the SexesThis film is much lighter fare, though it certainly has moments of intensity (trailer). Written by Simon Beaufoy and directed by Jonathan Dayton and Valerie Faris, it shows the lead-up to the famous 1973 tennis match between world number one women’s tennis player Billie Jean King (played by Emma Stone) and former men’s champion Bobby Riggs (Steve Carell). You even get a bit of Howard Cosell, though filmmaking magic.

In 1970, women tennis players received far less (about a tenth, I think) prize money than the men, because, as the head of the lawn tennis association explained (Bill Pullman again), women’s tennis is just less interesting. King led a walkout, and the women left the association to form a new league. With Virginia Slims cigarettes as a sponsor, they had their own competitive tour (ironically, none of them smoked), managed by highly entertaining Gladys Heldman (Sarah Silverman) who does.

In that context, Riggs—a hustler and clown, playing tennis costumed as Little Bo Peep, complete with sheep, wearing swim fins, and the like—said he could easily beat the best woman player. “I love women,” he says, “in the kitchen and in the bedroom,” an attitude, unfortunately, newly topical. King takes up the challenge. While she trains, he cavorts.

Home life isn’t simple for either of them. Riggs’s wife has left him, tired of his gambling, and King, though married, has her first lesbian relationship. At the time, public knowledge of that might have destroyed her career.

Emma Stone does a fine job—likeable and focused—and Carell is a believably driven character, teetering on tragedy as comics convey so well.

Rotten Tomatoes critics rating: 84%; audiences 76%.


“A lot of today’s Hollywood films don’t have a lot of patience. They sort of expect the audience to get bored really quickly, so they’re like, ‘We’ve got to have an explosion every 10 minutes.’” That was said about the dystopian science-fiction sequel Blade Runner 2049. It’s hard then to imagine how a film like Columbus, the debut film of writer/director Kogonada,  got made at all or that American audiences would sit through it (trailer). I liked it.

Set in Columbus, Indiana, home to an astonishing collection of modernist architecture, the buildings speak to a young city resident, Casey (played by Haley Lu Richardson). She’s been offered a chance to go to Boston to work and study with a prominent woman architect, but has decided to stay where she is, shelving books in the local library. She lives with her mother, recently recovered from a bad meth habit, and is afraid to leave her. They treat each other like thin-shelled eggs that require constant vigilance. She has an admirer at the library (Rory Culkin), who, like her mother, urges her to go.

This stasis changes when she meets Jin (John Cho), the New York-based son of a prominent Korean architecture scholar who suffered a stroke while visiting the town. He’s in the hospital and may never recover consciousness. He and Jin have had a distant relationship and Jin feels little connection now. He wants to get back to his life. The father is probably closer to his long-time assistant (Parker Posey), who, like Casey, has given up her individuality to play a supporting role.

Richardson and Cho bring great depth to their parts, and it’s a pleasure to watch them—indeed, the entire cast—work. There’s not a lot of yelling or acting out. And not one explosion.

The example of Casey, denying herself so much to protect her mother, weighs on Jin, just as his encouragement to follow her dream inspires her. This sounds simple, but the movie never drifts into the banal. The healing power of architecture is often referenced and the Columbus buildings, lit from inside at night or seen from odd angles, are stunningly beautiful. They loom over the characters studying them like benign watchmen. Arty, and satisfying—as Sean P. Means said in the Salt Lake Tribune, “a tender, beautiful gem that should not be overlooked.”

Rotten Tomatoes critics rating: 97%; audiences 84%.