Richard Linklater’s (Everybody Wants Some) latest film is imperfect in its details, but complete in its emotional journey. That is thanks to Cate Blanchett (The House with the Clock in the Walls) more than anything else. She takes us on Bernadette’s wild, and very personal ride, allowing us to both appreciate and find fault with her. And, frankly, knitting together a scattered story and script.
Part of that tale is her family. Billy Crudup (Alien: Covenant), and newcomer Emma Nelson throw down with Blanchett to create a family in loving turmoil, fighting to make it through the storm. It is a surprisingly believable one, even though Crudup’s character feels very cliche for a good chunk of the film.
But many of the characters around Bernadette feel that way. Kristen Wiig (Ghostbusters) is similarly hollow, if recognizable and allowed to grow. Laurence Fishburne (John Wick 3: Parabellum) is a convenience. Only Zoe Chao (The OA) got entirely cheated by never being allowed to have impact or grow beyond the cheap comedy she was forced into. But each of these are bumpers for Bernadette to bounce off of and not much more. Important bumpers, each in their way, but not full characters.
The script adaptation appears to be most at fault for these gaps and slightly scattered story. It feels like too much was shoe-horned into the two hours, keeping the story from remaining focused. There were too many side-trips and events and not quite enough was sacrificed from the original book. This isn’t unusual in Linklater’s films, but editing is one of his weaknesses. What he sees as being naturalistic is often just indulgent or boring.
Most of this movie’s weaknesses are quickly forgiven, from factual errors to misrepresentations, but they are there. What is frustrating is that they needn’t be, they were all clear director/writer choices. Fortunately, Blanchett can pull the entire load in her wake. For her performance, and the emotional release of the tale, this is definitely a movie worth seeing.