Yeah, I know, that is a weird rating, but it comes down to how the movie paid itself off…or not. Salma Hayek (Sausage Party) does a wonderful job driving this film and navigating a journey of revelation and frustration. But the resolution took days to crystallize for me…and even after I finally got it to make sense, I wasn’t entirely sold on it.
The ending aside, there is a great dynamic set up, Led by Connie Britton (American Ultra) and John Lithgow (Miss Sloane). Britton serves as the uncomfortable bridge between Hayek and Lithgow’s worlds. Each brings a particular kind of tension to the screen.
Jay Duplass (Transparent) and Cloë Sevigny (Love & Friendship), provide some distraction and a peek at the next generation coming up in the world. They are an odd couple, and come off with varying degrees of believability. In addition, Amy Landecker (Project Almanac) and David Warshofsky (Now You See Me 2) are side notes to the tale. Warshofsky is probably the most grounded and credible of the cast, outside of Hayek, but has relatively little screen time. Landecker is her typical, crass, ugly person. She does it well, but it is rarely an approach I find sympathetic or engaging.
You can’t help but compare this to The Dinner, which released around the same time and has a similar sort of dynamic and pathway. And again, the path and story are intriguing in Beatriz, but it ultimately didn’t pay off for me. I will admit this is a huge leap above Mark White’s most recent script, The Emoji Movie. The level of maturity is an entirely different league. And Arteta’s direction of it is uncomfortably realistic while maintaining a sort of theatrical stage sensibility. Perhaps I wasn’t able to see the point or wasn’t ready to see the point, but either way, it left me (amusingly given White’s involvement) with a “meh” feeling.
Ultimately, you see this for the performances. So whether you seek this out or not has to be left up to you.