An deiner Schulter

After her performance in "The Ice Storm" it is no surprise that Joan Allen could carry a movie like "The Upside of Anger". Nor was it a surprise that she and Alicia Witt could beautifully play off each other in their confrontational mother and daughter roles. What did surprise was that the film featured equally strong performances from the other members of the cast. Even writer/director Mike Binder does a fine "on-screen" job as a slimy but not entirely unsympathetic radio producer. Kevin Costner would be wise to stay with this type of role (and with comedy) instead of big-budget epic stuff.

The casting of Witt with Erika Christensen, Evan Rachel Wood, and Keri Russell as the four sisters was inspired. It was refreshing just to see a film family that looked enough alike physically to actually be related to each other. Since Christensen looks so much like Julia Stiles they could have even added a fifth sister although their resemblance is so strong that it might be confusing. All the subtle birth order distinctions felt right. The oldest (Witt) was the most connected to mom even though it did not appear so on the surface. The second (Christensen-who absolutely glows on the screen) was determined to be different than her older sister. The third (Russell) was the most connected to the father, missed him the most, and had the least understanding of the mother. The youngest (Wood) was way ahead of the curve and the most perceptive character in the film. Watch for all this stuff because it is there, and watch how no matter how down the mother becomes she continues to monitor the welfare of her daughters.

Binder gave into the temptation to use cheesy special effect gimmicks several times (the explosion at the dinner table, the neighborhood transition from summer to winter, the ballet fantasy, and the daughters growing older during the funeral scene). Although done well they seemed out of place. Also Binder should review the Kent State shootings, there were four students killed-not six.

There is a spectacular shot at the wedding. Beginning as an over the shoulder shot of Hadley (Witt) sucking in her "plump" cheeks, the camera pans slightly right and moves toward the wedding party as the focus changes to bring them out of a blur.

The film's ironic twist in the last 15 minutes is borrowed wholesale from "Whatever Happened to Aunt Alice". I particularly liked Wood's beautiful narration which helped clarify the title and theme, necessary (or at least helpful) after this ironic story line twist. She managed to sound both detached and involved, it is actually the voice-over for her broadcasting class project. When we are suddenly forced to reevaluate everything that has gone before in what we thought was just an interesting comedy, Wood steps in and steers us to internalize the theme. They go out on a shot of Wood looking up from her Mac and smiling. Amazing.

This is the best of Binder's writing: "Anger and resentment can stop you in your tracks. That's what I know now. It needs nothing to burn but the air and the life that it swallows and smothers. It's real though, the fury, even when it isn't. It can change you, turn you, mold you and shape you into something you're not. The only upside of anger then, is the person you become, hopefully someone that wakes up one day and realizes they're not afraid of its journey. Someone that knows that the truth is, at best, a partially told story. That anger, like growth, comes in spurts and fits and in its wake leaves a new chance of acceptance and the promise of calm".

"The Upside of Anger" is one of those rare films that I believe everyone should make an effort to connect with, doing so will make you a better person. Then again, what do I know? I'm only a child.

For some, The Upside of Anger will be little more than a beep under the radar. I guess part of the blame belongs to New Line Cinema's marketing campaign. With the prolific cast on board this doesn't seem too hard of a task (Or has Kevin Costner still not been forgiven for Waterworld?). Anyways, for those who do have the chance of seeing the film, they might find themselves enjoying the low-key romantic comedy. It's rather surprising a man directed The Upside of Anger, as it is more than anything else about female companionship. Director Mike Binder's look at these five women ranges from the ordinary (a character who has the ridiculous notion she's repulsive and fat) to the confusing (an utterly confounding where the women start laughing while a guy sits as oblivious as me). In a way, I feel like Kevin Costner's character- not always fully comprehending, yet oddly compelled.

Joan Allen plays Terry, a mother who suspects her husband is fooling around with a perky Swedish secretary. She finds comfort in the company of a retired baseball player (Kevin Costner) that she drinks with. It doesn't take too long for their relationship to turn physical and then something deeper yet. Terry has four daughters. The eldest (Alicia Witt) wants nothing more than to distance herself from Terry after college. Emily (Keri Russell) is a dancer workaholic who Terry is worried doesn't eat enough. Andy (Erika Christensen) is hired as a production assistant by the lowlife producer of Costner's radio show. And the youngest Popeye (Evan Rachel Wood) has a crush on a new kid.

Although it doesn't stray too far from the conventions of the genre, the film does try new things. Perhaps most notably, the Upside of Anger is a romantic comedy where the two characters rolling in the sheets (so to speak) aren't two attractive twenty-year olds. Also, while Terry and her daughters share a close relationship, they're rarely confidantes. A number of times they aren't even friendly to each other.

Also, Mike Binder effectively underplays the film. Something as mundane as a character slurping soup becomes an exercise in tense feelings. And the underplayed and relaxed nature helps draw attention to the performances. Kevin Costner's character could be imagined as the character in Bull Durham or Field of Dreams once the magic has gone. Although he's a drunk slob, he is also a kind and likable guy. All four daughters (particularly Evan Rachel Wood) give good performances. This movie however belongs to Joan Allen. Somewhat paradoxically with the film's underlying message, Allen's best scenes often draw from anger. In one scene, she catches Andy in bed with the producer and unable to say anything, she huffs off in Olympian fury.

For most of its one-hundred-thirty-five minute length, The Upside of Anger is a pleasant romantic comedy with something to say.

Paranoia could be viewed as supreme egotism: why would everyone follow you? Why would they waste their time? Most things happen for reasons that have nothing to do with you. One thing I liked about this was it placed "normal" people in unusual, stressful situations and showed how they might react. Unfortunately, we often don't get a chance to work out our reactions in advance, as characters in a script. But it would be helpful not to strike back unless attacked. Maybe the point here was that anger can be useful, but ineffective if used indiscriminately. As dramatized in this family, there is a difference between "speaking your mind" and anger. Interesting plot twists, some implausible to some viewers. The ending summed up the message for me: why am I angry?

Life doesn't come with an instruction manual or a script to follow, it's basically improv on a daily basis, and as it plays out people and things often are not who or what they seem to be on the surface. It's reality, as opposed to the way you expect, hope or want it all to be; truth, as opposed to an individual perception of truth. That's life. And "The Upside of Anger," written and directed by Mike Binder, explores some hard realities that differ drastically from expectations and perceptions.

The film opens with a funeral, a somber note which in a sense prepares you for what is to follow, after a flash back of three years, at which point the story begins. Terry Wolfmeyer (Joan Allen) is at loose ends because her husband has run off with his secretary, leaving her and four daughters behind to fend for themselves. Angry, distraught and a stone's throw from bitter, Terry turns to alcohol to deaden the effects of what has been a life-altering experience. Luckily-- or maybe not-- Terry has a neighbor, Denny Davies (Kevin Costner), an ex-pro baseball player turned radio talk show host, with whom to share a drink and commiserate. Her daughters (three teens and one in college) are supportive, as well-- to a point. But they are each in their own way also struggling to understand why their father deserted them. By all accounts, this was in no way a dysfunctional, angst-ridden family, so the actions of their father is a mystery to them all. Naturally, it's a pivotal point in their lives, and before any of them can move on, especially Terry, they have to know why he did what he did. In the meantime, with or without this needed closure, life is happening to and around them.

Binder (who also appears in the film as the producer of Denny's radio show) displays an astute knowledge of human nature with this film, and how random the myriad twists and turns of life can be. He holds your attention from the opening scene (who's funeral is it, anyway?), and just when you think you know where the story is going it takes an unexpected turn. And he is in no way attempting to manipulate his audience; rather, he is giving you a reflection of the way life so often simply does not go the way you think it's going to. It's a succinct look at relationships, and of how fragile-- as well as resilient-- we all can be.

As Terry, Joan Allen sets vanity aside to create her character and turns in an Oscar caliber performance in doing so. When she gets up in the morning she looks like a middle-aged woman with insufferable problems and a hangover, a woman in the throes of coping with a traumatic experience who is desperate to reconnect with a life she no longer has and who will do anything within her power to hang on to what she has left. She's walking a tightrope over a deep abyss and she's understandably on edge, so when one of her girls tugs the rope and compromises her control and security, she quite naturally lashes out, proving the old adage you always hurt the one you love. There's a scene in which a grieving Terry draws her hands to her breast and, head lowered, utters a cry, and anyone who has ever known any kind of grief or loss in their life will at that moment know exactly what she is going through. It's a terrific piece of acting, a performance that is altogether affecting and memorable.

And, as performances go, Kevin Costner, too, puts vanity aside to create a character that is entirely convincing. Denny Davies is paunchy, his hair is thin and most of the time he looks as though he's had one beer too many. Still, he's engaging, and you get the feeling there's a complex individual hiding behind an external simplicity that perhaps helps to mask his true feelings about a lot of things in his life, including his career on the diamond. Why, for example, does he refuse to talk about baseball on his sports talk show? In it's purity, this is arguably Costner's finest performance ever.

Top notch performances are turned in, as well, by Erika Christensen, Evan Rachel Wood, Keri Russell and Alicia Witt as Terry's daughters, respectively, Andy, Popeye, Emily and Hadley; and by Binder himself as Shep. In the end, "The Upside of Anger" is an involving, memorable film that celebrates life and leaves you with a sense of hope, that no matter how bad things get we all have the capacity to get through it and somehow find the light at the end of the tunnel. And that's the magic of the movies.

I've always admired Kevin Costner's laconic screen presence, in BULL DURHAM, TIN CUP, even DANCES WITH WOLVES, JFK and PERFECT WORLD. Now no longer leading-man handsome, he's developed into a first- rate character actor, and as a washed-up, alcoholic ex-baseball player-turned radio talk-show host, Costner offers company and comfort to Joan Allen as a drinking buddy in the bittersweet THE UPSIDE OF ANGER. Mike Binder's superb film about an abandoned wife of four teenage girls should qualify as one of this year's best films. But because it was released so early, did only respectable business, and isn't a vehicle for an over-hyped box-office attraction on magazine covers now, it will probably only get the respect of word-of-mouth. I saw this engrossing, deeply wonderful film when it opened last winter, and made up my mind that I would have to have the DVD as soon as it became available.

Joan Allen, as Terry Wolfmeyer dazzles us in a performance that is both comically and dramatically masterful as the drunken mother seemingly at war with her four beautiful daughters. Terry's rage over her husband's abandonment of her and their children, is a mean-spirited rebuke to her daughters, who try with great patience to survive their mother's theatrical bitterness. But mama has given them the gift of her humor, and I think it's what saves these girls. There's a look that Joan Allen gives when one of her daughters is doing exactly what she doesn't want them to be doing. What it is they are doing to upset their mother is always in doubt because she's never really making rational sense. She's only filtering her displeasure through the rheumy eyes of her last cocktail. There's a scene at the family dining room where Hadley, her eldest daughter (the ever fascinating Alica Witt, who should be starring in her own movies), announces she's pregnant with her second baby. Allen was none-to-happy that her daughter opted for marriage and motherhood over a career, and her beady- eyed stare at her daughter's latest announcement of her grand-motherhood is a comic masterpiece. But when Allen finally can no longer avoid facing her crippling anger, Allen breaks your heart. Having never had an outlet for her comic abilities, she's surprises you with her skill. That she walks this fine tightrope between both extremes says much for her talent as an actor.

Finally back to Costner. Denny Davies might have been a dangerous character for Costner to revisit. Afterall, he's played washed up or played out sports characters before. His career has suffered a very precipitous fall following the media-created debacle of his so-called grandiose ego in WATERWORLD, and the opportunities have been few and far between since then. But Denny is a rich character any actor would love to sink their teeth into, and Costner embraces Denny's humanity with consummate ease. Discovering his neighbor has been abandoned by her husband, Denny offers to keep her company while they drink. They warily circle each other during these boozy afternoons of watching television, drinking and not saying much to each other. And when that changes, you see the transition from friend to lover mainly through the eyes of Denny. When she first proposes they sleep together, it's Denny who chickens out at the last minute. But as their relationship develops, you see Denny reach out to Terry's girls in a way that is sympathetic but also gives them room to accept and then love him in return. This is a terribly important test for Denny. So when the youngest of the girls finally asks him if he plans to marry Terry, Denny comes to understand that the girls have welcomed him into the family. Costner is sensational in this film, but he keeps it all so low-key, always keeping the focus on Allen's character, and he ends up giving her the film--and rightfully so, I think. This is a gift to Allen. Costner recognizes this, and I think the movie is all the better for his act of generosity. This is a performance that people will talk about for years to come. Like Jeff Bridges and Dennis Quaid, Costner is one of our best screen actors, and it's great to see him in a role that is truly worthy of his fine talent.

Each of the daughter's is skillfully rendered by Erka Christensen, Evan Rachel Wood, Keri Russel and Alicia Witt. These young women look and act like siblings. Auteur Mike Binder has given himself a role as Denny's radio producer, who is romancing one of the daughters, much to her mother's disgust. He's funny, pathetic, and just a bit creepy as a Romeo with romantic ideas way above his station!

Binder's fine script gives this ensemble film the ballast that keeps you laughing and crying. He's found the emotional core in these character's lives, and the pace of the film, which clocks in at just under two hours, provides a sense of completeness.

Ultimately it is Costner's generosity as an actor that so disarms the viewer. In every shot, Joan Allen's Terry is the riveting center, with Costner playing to her every moment without stealing attention away from her. That earns my whole- hearted respect.

THE UPSIDE OF ANGER should be seen and savored by anyone who cares deeply about moves with something to say about the human condition. Binder's adroit direction makes this a film to set beside TERMS OF ENDEARMENT, AS GOOD AS IT GETS, and Lasse Hallstrom's vastly underrated SOMETHING TO TALK ABOUT. Finally it's such a pleasure to see two pros such as Allen and Costner hit it right out of the park!