Dysfunctional Family Drama With a Twist

Read Time:3 Minute, 47 Second

MOVIE REVIEW
Mother, Couch
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Genre: Drama
Year Released: 2024
Runtime: 1h 36m
Director(s): Niclas Larsson
Writer(s): Niclas Larsson
Cast: Ewan McGregor, Ellen Burstyn, Taylor Russell, Lara Flynn Boyle, Rhys Ifans, Lake Bell, F. Murray Abraham
Where To Watch: opening in select theaters starting July 5, 2024

RAVING REVIEW: MOTHER, COUCH, unfolds with an elder matriarch firmly planting herself on a display couch and staunchly refusing to leave. This act, more rebellion than retreat, draws her three estranged children back into her world and a vortex of long-suppressed familial issues. Ellen Burstyn, portraying the steadfast mother, becomes the center of a narrative storm, pulling the cast through a series of emotional revelations amidst the armchairs and ottomans of a seemingly innocuous furniture store.

Under the direction of Niclas Larsson, the film cleverly transforms a mundane retail space into a battleground for personal dramas and unresolved tensions. Managed by characters portrayed by Marcus (F. Murray Abraham) and Bella (Taylor Russell,) the furniture store transcends its commercial purpose, becoming a central player in the family's unfolding saga. The setting is not merely a backdrop but an active participant in the drama, echoing the clutter and chaos of the family's relationships.

The casting is spot-on, with Burstyn's remarkable transformation from fragile to formidable showcasing her impressive range. Ewan McGregor’s David, Rhys Ifans as Gruffudd, and Lara Flynn Boyle, who portrays Linda, are Burstyn’s children, each navigating a spectrum of bitterness and concern. Their fraught interactions do more than drive the narrative; they invite the audience into the intricacies of their tangled relationships, enriched with biting sarcasm and palpable tension.

Larsson’s directorial style is steady as he navigates through scenes that oscillate between the absurd and the tragic, enriching the drama with existential questions and themes. This approach elevates the narrative, offering viewers a meditation on family life's fundamental, often harsh, truths. Chayse Irvin’s cinematography further enhances the storytelling, all while using sepia tones to create a nostalgic and melancholic atmosphere that mirrors the film’s reflective tone. A jazz-infused score complements this and deepens the emotional undercurrents, particularly in intense familial discord.

However, MOTHER, COUCH has its challenges. The film occasionally falters with pacing issues, particularly in the first half, which may test viewers' patience as it laboriously sets up the central conflict. Moreover, the depth of the characters' flaws may prevent some from fully engaging with their emotional journeys.

Despite these elements, the film marks Larsson as a bold new voice in cinema, unafraid to explore profound and turbulent emotional waters. The performances he coaxes from his cast bring a raw intensity to the screen, making MOTHER, COUCH a memorable debut. The film leaves its audience to ponder the complex web of family dynamics and personal history, appealing to those who seek films that challenge and engage on multiple levels.

MOTHER, COUCH is an ambitious blend of surreal comedy and drama that digs deep into the fractures and seams of a family forced to confront their collective past. The melding of genres and solid performances creates a compelling tapestry of human connections and disconnections. Larsson’s directorial choices suggest a promising future in storytelling, capable of weaving complex emotional narratives that resonate with audiences. This film courageously tackles themes of legacy, reconciliation, and the enduring echoes of familial bonds, positioning it as a standout narrative in modern cinema.

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[photo courtesy of FILM MOVEMENT]

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