Book Club is exactly what you expect it to be: a semi-sappy, slightly sarcastic look at love later in life for four women. What makes the movie is who those four women are. Each is a solid actor and comedienne. Each brings a slightly different type of outlook, and each manages to make you invest in them.
It is also true that they are each somewhat typecast. Diane Keaton (Love the Coopers) is slightly neurotic, lost, and sweet. Candice Bergen (Boston Legal) is tough but seeking connection even as she denies it. Mary Steenburgen (A Walk in the Woods) is the devoted wife with a bit of romantic wild-side. And Jane Fonda (Youth) is the tough-as-marshmallow-filled-nails successful woman who’s denied herself to avoid pain. All of this is laid out for you in the first few minutes and you know exactly what is to come: the men that will change their lives.
And the male cast makes as much a difference here as the female. Primarily that is Craig T. Nelson (Grace and Frankie), Don Johnson (Django Unchained), and Andy Garcia (Geostorm). But there are a few nice cameos and smaller roles as well. There are no cads in this story, just mismatches. It maintains its light and fluffy sensibility through to the end.
First-time director Bill Holderman re-paired with his A Walk in the Woods producing partner, Erin Simms, to write this diverting bit of trifle. It is effective at what it does, well-paced, and, of course, expertly acted. In fact, it is the smartest thing Holderman and Simms did was in the casting. And, I admit, I had all the right Pavlovian responses to the tale.
That aside, the story, left me vaguely uncomfortable. On a sociological level, we’re looking at 8 white adults of privilege, who have never suffered or wanted, complaining about their lives. But more disturbing was the odd sense of anti-feminism. Yes, the women are strong and, eventually, in control of their lives (sort of). But they are also very clearly incomplete without a man and, in several cases, having their lives dominated by the choices of the men around them…even when they seem to be in control. It isn’t overt, nor it is it even enough to ruin the film, but it was there as a feint odor under the light comic romance that may have been unavoidable given the genre. The central role of 50 Shades of Grey didn’t work for me either. Admittedly, they needed some MacGuffin to get the story rolling, and it was perhaps the right choice, but it was also about a year or two late for social relevance.
So, if you know what you’re looking for and are willing to be swept up in its highly myopic view of the world, it is worth seeing. If you simply love the actors involved, it is worth it for them as well. If you are hoping for something a bit more transformative or with a conscience…you’ll probably be more like me and wonder why the silly and light fantasy that worked while it was running left an odd flavor in your mouth as you left theater. That isn’t so much an indictment as it is a recognition.