Viciados em Amor

Director/screenwriter Rebecca Miller has fashioned quite a quirky relationship roundelay in this 2023 dramedy as she focuses on a dumbfounding love triangle saved from complete absurdity by the dexterity of the three leads. The plot is convoluted. Stephen Lauddem is a famous composer with writer's block who sleeps with Katrina, a shopworn tugboat captain with a sex addiction, and then writes a celebrated opera about their fast affair. Stephen is married to Patricia, a beautiful Manhattan therapist with OCD and a strange obsession with nuns. There's a parallel story of Patricia's son who is in love with the underaged daughter of the family maid whose husband is hellbent on breaking up the relationship. All the story strands come together but don't emotionally resonate nearly as much as they should. Miller seems more preoccupied with the characters' eccentricities. The star performances compensate. Peter Dinklage plays Stephen with jaundiced charm, while Anne Hathaway shows off a welcome edginess to Patricia. Marisa Tomei conveys a convincing lived-in approach to Katrina that helps ground the movie's somewhat flighty tone.

In truth maybe it's more like an eight not a ten, but I have to compensate for the crime of it being rated only a six. It deserves so much more than that!

I love this movie because the characters are strange, and yes okay maybe exaggerated as movies tend to be, but actually authentic at the heart of it. Each of them are laugh out loud absurd, but also somehow remind me of someone I know in various ways. This movie captures how sweet it is to be young and in love. It captures how it feels to think that part of your life is over, and be wrong. And it does it in such a strange and original way. I'm sorry I just love it, start to finish.

It's a romantic comedy-drama set in current times in Brooklyn, New York. It follows the experiences and interactions of two completely different families and a tugboat captain.

Steven Lauddem (Peter Dinklage) is an insecure composer facing a deadline for a new opera with no inspiration for a storyline. He's married to Patricia (Anne Hathaway), a therapist who's a clean freak and a closet devout Catholic. She has a bright 18-year-old son, Julian (Evan Ellison), from her first marriage. She had separated from Julian's father, but he had subsequently died. They have a dog named Levi.

Magdalena Szyskowski (Joanna Kulig) is a Polish who works as a cleaning lady. She has a 16-year-old daughter, Tereza (Harlow Jane), from her first husband. She is not married to the man she's living with, Trey Ruffa (Brian d'Arcy James), but he has adopted Tereza. Trey is a court stenographer and an extreme Civil War reenactor.

We learn early on that Julian and Tereza are boyfriend-girlfriend and that Magdalena is the new cleaning lady for Steven and Patricia. None of the adults are happy when they learn of Julian & Tereza's relationship, especially Trey. We also discover that Steven suddenly gets inspiration for his opera from an encounter with tugboat captain Katrina Trento (Marisa Tomei).

"She Came to Me" follows the characters' interactions through three love stories, two of which are surprising but are clearly telegraphed as the plot unfolds. All the primary actors are excellent, especially Dinklage, Tomei, and Ellison. The story is clever and fun.

She Came to Me is about an Opera composer and his dysfunctional relationship with his wife who is also his ex-therapist. One day when writer's block has a harsh grip his OCD wife sends him out for a walk, which will change his life forever.

The cast is magical. Peter Dinklage is mesmerizing as Steven (the opera composer) Anne Hathaway plays his wife Patricia, who is perfectly cast as this clinical OCD control freak.

Marisa Tomei as Katrina is quirky, fun, and compelling, she truly is perfection in this role and you can't help but be cheering her on from the sidelines.

If you like films that are offbeat, original, and quirky then this film is a definite must-watch. I really enjoyed it.

Peter Dinklage and Marisa Tomei are absolutely fantastic in this film. Their presences on screen, individually and together, demand attention at all times. This even while struggling through a woefully pedestrian script, the expository parts of which are mind-numbingly bland. Thankfully, these two are able to rise above script. And it doesn't hurt that even made to look a bit rough as a tugboat captain, Marisa Tomei is positively gorgeous in her late 50s. But that's about where the praise slows down. The truth is, they are not on screen for nearly enough time.

There are three intertwined stories that never really quite gel cinematically (go see a John Sayles film, Lone Star, or Sunshine State to see this done masterfully). Anne Hathaway is serviceable, but in a role that could be, and largely was, phoned in. One extreme (the kreplach) scene, presumably meant to go viral, doesn't really land. Nor does the rather telegraphed final joke for her character (no spoiler).

But the anchor that drags this otherwise interesting film down is the onerous thread of the star-crossed teens. A bad script with supreme talent (Dinklage and Tomei), leaves a film short of its potential but passable. A bad script with dull and listless young actors is a recipe for an atrocious afterschool special. The ham-fisted symbolism of the father's Civil War re-enactments (isn't that really just cosplay, though?) and the 'futurism' of the teens gets hammered home. There were audible shifts from the audience with whom I watched, as scenes changed from the dynamism of the leads to the lethargy of the teen story. The biggest problem with this is that the audience needs to care about these two young people and their future. And we just don't.

Unfortunately, the three threads are needed to make the story come around full circle in the end. Only one thread is compelling with Dinklage and Tomei. Hathaway's thread had potential but ultimately was just tangential, and the teens' thread was a burden to endure to necessitate the final act. And all this and overwrought opera presentations, not good enough to be worthy of praise, but not quite so obviously parodic to garner laughter. Perhaps that's symbolic of the film itself, middling. Dinklage and Tomei deserved better.