Sean Durkin’s (Martha Marcy May Marlene) latest pondering on human relationships and identity uses the go-go 80’s as its backdrop. Jude Law is the quintessential 80s trader chasing his sense of fulfillment and dragging long suffering (and occasionally insufferable) Carrie Coon (Widows) in his wake along with their kids.
There is a quiet intensity to this story, with layers slowly peeling back as it unwinds. But there isn’t much to like in any of these characters. Certainly there is empathy for their kids, but the adults are all, well, all those people you disliked in the 80s that brought the financial world to its knees in the first of several crashes to follow. In other words, it feels like we’re being asked to understand some really rather shallow and reprehensible people and feel sympathy of some sort. Sorry, no.
Even the ending of this story, which does bring the characters to the brink of change, never quite feels like it’s completed or paid off. It ends on a moment of potential…and that may be enough for some folks, but not me in this case. While it felt earned, it didn’t feel complete or satisfying. The children, in particular, are left in pain and without real support. So, up to you on this one. The performances are solid and the flow is good, pulling you along despite the low key of it all.