Showing Up

If for no other reason than its ability to do what Steven Spielberg could not, namely elicit a quiet, non hambone performance from Judd Hirsch, Kelly Reichardt's latest film should be commended. But there are other pleasures to be had in this tale of a frustrated artist in boho Portland, Oregon (by the way, Is there a non boho part of that city?), chief among them Michelle Williams' interpretation of the main character. I think we've all known a person like Lizzy, talented in their field but not talented enough to allay self doubt and envy of greater talents.(Think a kinder, gentler Llewyn Davis). It takes awhile for Lizzy's virtues to emerge but under Reichardt's sensitive direction and aided by her and co writer Jon Raymond's perceptive screenplay, Williams effectively peels away Lizzy's layers and lets you see the caring, sensitive person beneath the depressed, resentful person, so that by film's end we feel we know this good if extremely flawed individual. Wonderful character study which, again, leads me to muse on why this enormously gifted actor has yet to win an Oscar. Strongly supporting Williams are a number of actors with whom I was not familiar, especially Hong Chau as Lizzie's rival and bete noir, Maryann Plunkett as her checked out mom and John Magaro as her deranged, paranoid brother. Also worthy of mention is cinematographer Christopher Blauvelt who, like Williams, often works with Reichardt and whose camera beautifully but unobtrusively immerses us in the Rose City.

The film's main drawback is obvious and needn't be dwelt upon unduly. Reichardt's pacing, which will never be confused with that of Hawks or Bigelow, is at its most deliberate (read slow as hell) in this film. I can understand and sympathize with my IMDB colleagues annoyance with it. But if you can somehow adjust yourself to the director's contemplative, subdued rhythm you will be rewarded in the end, especially in the climactic scene at Lizzy's show where the tension, long held back, is palpable. More problematic for me than the slowness, actually, is the director's use of the too symbolic bird which, like most symbols in film and literature, I found both obvious and heavy handed.

Bottom line: Not as good as "Wendy And Lucy" or "Meeks Cutoff" (or even "Old Joy", for that matter) but well worth your time. Give it a B.

Are you an artist? Do you have impostor syndrome? Does it feel like everyone is getting on with their lives except you? Well, let me tell you: IT'S ALL IN YOUR HEAD.

This movie has taught me that in adulthood we accept one another as we are. Just like Jo accepted Lizzie.

This movie has taught me that things take time.

This movie embodies the weakness and fear inside all of us. The voice that doesn't speak up and piles up thoughts upon thoughts upon thoughts.

If anxiety and calm had a baby, it would be this movie.

I don't recommend watching this. Great performances from all the actors. But that's about it.

I've been a fan of Kelly Reichardt's other movies, notably "Wendy and Lucy" and "First Cow," but this one left me cold.

Michelle Williams plays a sullen and mousy artist who walks around in a fog of frustration over not having enough time for her art because of the demands of other people. I can get on board with a slow burn that reveals bits and pieces of a character's inner life that finally coalesces into something like a whole. But that doesn't happen here. At the very end of the movie, there are some moments that I liked and finally made me start to understand some of the circumstances that contributed to Williams's character being the way she was. But then the movie just abruptly ended, and the pay off was not anywhere near recompense for the tediously slow and border line boring movie that led up to it.

There is a running storyline with an injured pigeon that results in obvious and over used symbolism.

Grade: C+

Lizzy (Michelle Williams) is a sculptor working to set up her show. She works at a small art school run by her mother Jean (Maryann Plunkett). Her father Bill (Judd Hirsch) has a couple living at his house. His brother Sean is unstable. Her co-worker Eric (André 3000) is firing her works in the kiln. She has a love-hate relationship with her friend-landlord Jo (Hong Chau).

It's a minimalist portrait of an artistic life and her little everyday tribulations. It's not the most earth-shattering plot. It's a look inside a stressed-out woman's life. It's Michelle Williams being naturally compelling. Hong Chau delivers another great performance. The art school is very specific. It's not a movie that is so quirky that it's hilarious and it's not so dramatic that it's heart-wrenching. It's the simple drama of an artist.

There's a sculptor who has a glass and it's half empty, lives in a world full of despair that's just not carefree, no hot water in her tap, things are generally just crap, she is the epitome of gloom and misery. Then a pigeon pays a call and gets cat mauled, this leaves the artist most annoyed, slightly appalled, but she sends it on its way, it returns boxed up next day, a bird that's clearly been well trained, you'll be enthralled! (it's a talented bird) The mood continues to be more downbeat and muted, as the artist gets her pieces executed, familial issues do not please, as her brother eats the cheese, but that's the price you have to pay, when you're deep-rooted.

Wonderful performances and great dialogue, but not a lot else.