Victime de ma fille

Joanna Kerns, (Cynthia Martin) plays the role of a mother who loves her family and especially her daughter, Deena Martin (Hilary Swank) who has the hots for her boyfriend who is wild and drags Deena down the wrong way of life. However, Cynthia Martin loves to drink wine all day long and has trouble trying to deal with her husband who wants to make pottery in the basement all the time. In the meantime, Adam Martin, the son of Cynthia Martin loves to drink vodka from a bottle before he goes to sleep or when problems start to hit him in the face. The only sane person in this out of control family is Todd Martin, (Dan Lauria) who plays the role of the husband of this crazy family which needs professional help.

As far as t. v. made movies go this gets a B+. Hilary Swank better known for her role in "The Next Karate Kid" plays an abusive teen who starts to violently hit her parents when she gets real angry, through all the fighting and her dating a delinquent the violence turns into an authority involvement. Joanna Kerns (Growing Pains) plays her alcoholic mother who can't seem to control her daughter or keep a punishment, she's believable but tries too much. I'm not saying it's the best but I would see it as often as it may come on.

I was curious about this as an early credit for Hillary Swank, and if I were she and someone mentioned this movie in my presence I'd probably be thinking, "I'm a big movie star now, I've won two Academy Awards, I should be allowed to forget credits like that." Truth be told, though, it's a better than average Lifetime movie and Swank acquits herself marvelously in it as the rebellious teenage girl whose violent relations with her family open a lot of old wounds going back three generations. This has some of the usual Lifetime weaknesses — melodramatic plot construction, an overly reverential attitude towards psychotherapy, sappy piano-and-strings background music (they must have a library of millions of these records) and a limp excuse for punk rock allegedly performed by Garrett's band, as well as the obligatory soft-core porn scene — but it's also solidly acted by a tight ensemble cast, it's all too believable despite the melodramatics, and Gregory Goodell has a visual sense far ahead of most of the Lifetime directors.

This was an intense film from Lifetime Network, Hilary Swank is a teenage girl who wants her freedom from her parents and wants to be with her boyfriend,, well her parents are going to put a stop to this, but problem is this spoiled brat is violent and she goes after her dad by slamming a door on his arm,, fighting with her mother,, classic tale of teenage girl rebelling but goes way to far in this movie I felt,, the mother escapes by drinking whine during the day,, the husband is busy in the basement doing woodworking,, and the son is busy sipping vodka before bed,, this movie is kinda hard to watch,, in part because I had a teenage step daughter that was violent as she got older, but thank goodness not to the point in the movie , but close enough. interesting watch,,, Dan Lauria was good, and Jo Anna Kerns was great and stole the show for me.

Hilary Swank is obviously a very good actress, but her casting here presents a problem: as a rebellious suburban teen with an anger management problem, Swank isn't too convincing as a malicious liar and conniver. This pedantic TV-made drama hopes to show how some parents attempt to substitute personal problems or an estranged marriage by turning their kids into pals (instead of helping them become responsible people). It has many intense moments of family conflict, yet Swank is too clean-cut, too brainy and well-wrought as a person to match up with this mercurial character. As her parents, Joanna Kerns and Dan Lauria have some very fine scenes, but Kerns (playing an alcoholic) is given too many not-so-subtle "sipping her wine" close-ups, and this particular needy mom (whose own mother was abusive–-these patterns repeat!) isn't quite convincing either: she seems to go downhill awfully fast (after the obligatory 'fixing dinner' scenes) and her background and relationship with her sister is left too vague. The melodramatic music score is obtrusive and obnoxious, underlining every emotion to the nth-degree and signaling the traumas far in advance. However, for a television film the narrative is tight and, after a poor opening (including a tatty flashback frame, the kind that never works), the movie improves and does try to solve its dilemmas carefully without too much hand-holding.