Parenthood Without Power

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MOVIE REVIEWS
A Little Prayer
–

Genre: Drama
Year Released: 2023, 2026
Runtime: 1h 31m
Director(s): Angus MacLachlan
Writer(s): Angus MacLachlan
Cast: David Strathairn, Jane Levy, Will Pullen, Celia Weston, Dascha Polanco, Anna Camp
Where to Watch: available now, order your copy here: www.amazon.com

RAVING REVIEW: What responsibility does a parent have once their children are grown, and what happens when love no longer grants authority? A LITTLE PRAYER begins with that unasked question hanging above each conversation, yet never asked directly, however it's sensed in the silence between lines, in the hesitation of characters before speaking, and in the measured distance maintained by the film from making judgments.

Writer/director Angus MacLachlan's intimate Southern drama understands that the hardest family reckonings are not the dramatic ones. They're slow, quiet, and irreversible. At the heart is Bill, played by David Strathairn, who has an almost radical confidence in his restraint. Bill is a man who has been shaped by decency, routine, and earned moral authority. He’s a vet, a businessman, a husband, and a father who truly believes that the values he lives by will naturally be passed down to those he raised. And then, when he learns that his son David is having an affair, Bill doesn’t react with anger or confront David. Instead, he pulls back, observing, listening, and trying to understand how someone he raised could have drifted so far away from the values he assumed would be common to both of them.

And this decision is one of the film's strengths. A LITTLE PRAYER refuses to turn this conflict into a simple moral binary exercise. Bill isn’t shown as righteous, and his son isn’t shown to be unredeemable. Rather, the film explores the emotional distance between generations, and Will Pullen's performance as David effectively conveys that distance. David is defensive, immature, and evasive, but not evil. He’s a man who hates being held accountable because it makes him realize he’s a person, not a child, and therefore vulnerable to being hurt.

Jane Levy delivers what may be her best performance to date, serene and powerful as Tammy, David's wife and the film's emotional counterpoint. Tammy is an observer; she appears emotionally drained from the effort of maintaining herself. Levy avoids melodrama and instead lets Tammy's conflict come out slowly through her posture, silence, and subtle expressions. She understands that Tammy is a woman who has developed a way of surviving through compromise, and the film accepts that survival mechanism as both a necessity and a burden.

The relationship between Bill and Tammy is where A LITTLE PRAYER finds its core. Their relationship isn’t romantic and the film never implies that it is. Instead, it’s based on mutual recognition, two people who value reflection, responsibility, and care in a home that is often aimless. Strathairn and Levy have a relaxed, natural chemistry that doesn’t draw attention to themselves. The interactions between them are marked by what is left unsaid, by gazes that last a little too long, and by conversations that avoid the hard truths without ever reaching them.

Celia Weston brings warmth and depth to Venida, Bill's wife. Their marriage, depicted with surprisingly tender moments, provides one of the film's quieter insights. A LITTLE PRAYER understands that long-term relationships are not built on a constant awareness of emotional issues, but on the capacity to endure together. Venida recognizes Bill's distress about the moral implications of the situation, even though he can't express them, and Weston portrays this recognition with humor and patience, rather than anger.

Scenarios are given space to unfold, and many times they conclude before the resolution is reached. The film trusts the audience to remain uncomfortable, rather than leading them to a place of relief. This type of directing won’t connect for those who insist on all the answers being laid out for them, but it’s crucial to the film's purpose. A LITTLE PRAYER focuses on the gradual build-up of unease, and how unresolved tension becomes physically embedded in us over time.

Tradition, faith, and community are present in the background and affect the characters' behavior, but don’t dictate it. In fact, religion in the film isn’t presented as doctrine, but as social standing, something that determines what can be expressed verbally.

The entire film builds toward its final sequence, which is resonant because of its patience. Strathairn allows Jane Levy to carry the film's conclusion, and the result is almost overwhelming. The film's conclusion isn’t designed to be awe-inspiring; it’s meant to release years of pent-up emotion. The impact comes not from surprise, but from inevitability.

A LITTLE PRAYER is adult drama in the truest sense, not because of the subject matter, but because of the discipline displayed by the filmmakers. The film never rushes, it doesn’t preach, and it doesn’t assume that understanding equates to resolution. Rather, the film presents its question to the audience and leaves the response unanswered, assuming that the act of recognizing is valuable in and of itself.

This is a modest film by design, and its modesty is, in turn, one of its greatest assets. Angus MacLachlan displays a deep appreciation for the truth of emotions, for actors, and for the intelligence of the audience. A LITTLE PRAYER may not make a big splash, but it leaves a lingering sense of loss that is honest, earned, and profoundly quiet.

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[photo courtesy of MUSIC BOX FILMS]

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