REVIEW: Writer-director Nicole Holofcener hands Julia Louis-Dreyfus one gem of a role: a writer who turns her husband’s white lie into marital Chernobyl.
). He’s a therapist with a private practice in Manhattan; she teaches creative writing at The New School. Their son, Elliott , is happy, healthy, and works at a weed dispensary, though Mom isn’t so jazzed about that last part; the shop barely has any security! The long-married couple has just celebrated an anniversary. Several years ago, Beth wrote a memoir about her relationship with her father. It sold extremely well. Now she’s working on a follow-up book, a novel, and… it’s not going so hot.
But hey, everything’s great for these two middle-aged, upper-middle-class soulmates who still publicly canoodle after all these years. Then Beth and her sister, Sarah , overhear Don and her brother-in-law, Mark , having a private conversation while shopping. The subject is Beth’s new book — it seems that Don is not a fan. He can’t tell her this, however, because he wants to be supportive. So the husband tells his wife that it’s wonderful, you’re nailing it, keep up the good work.
There’s a version of this movie that, in some worst-timeline universe, is cloying and toothless, touchy-feely and cute, and drops this revelation in the name of wacky shenanigans before everything is neatly tied up with a nice bright bow. Or, worse, it gives you the equivalent of someone sticking pins in live bugs, just to snicker at their squirming.is most assuredly not that. Because it comes from writer-director Nicole Holofcener, a Sundance O.G.
maestro, finding dry humor in the most vulnerable, humiliating encounters without sacrificing the humanity. Holofcener isn’t cold or gratuitously cruel. She’s just brutally honest, which is why she’s one of the only people suited to make a truly funny movie about brutal honesty.
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