211 reviews
- PizzicatoFishCrouch
- Apr 16, 2006
- Permalink
"Junebug" is a ruefully sweet, clear-eyed take on the going home genre that usually takes the form of prodigal child returning due to a funeral or serious illness with guilt hanging in the air until it ignites an explosion.
Instead, debut writer Angus MacLachlan has brought "George" home to North Carolina as a coincidence of his new wife's job and life has gone on without him and will continue when he's gone again.
Debut director Phil Morrison does a lovely job of visually establishing how each person in the family has staked out their physical space and roles within the family, even as sounds and light uncomfortably carry through the walls and beyond the rooms. I haven't seen every inch of a normal house used as a movie setting so intensively since "The Brothers McMullen," complete with blowing up an air mattress in the nursery.
Those scenes contrast with how different the family members are outside that house, such as the sullen, angry brother (Benjamin McKenzie) perking up comfortably with his fellow warehouse workers and "George" easily fitting back into a church service.
While the usual is to have the spouse's estranged family be colorfully ethnic or straight-laced WASP as a comic contrast, a la the "Meet the Fockers" mode, here they are complicated rural folk and are not condescended to, even as no good deed goes unpunished. Both sides receive their share of mockery and sympathy from the story; everyone's hypocrisy and humanity are revealed and at least two scenes bring tears to the eyes, one touching and the other sad.
While everyone is speaking English, the miscommunications abound, though it is a bit heavy-handed to have the English-bred wife coach the brother on "Huckleberry Finn," let alone her bizarre negotiations with a probably crazy local artist. Each either takes a comment too literally or misinterprets passive aggressive silences; what people don't say comes to be more important than what they do say, as even Amy Adams' wonderfully chatty character is warm-heartedly mature and caring.
The big, annoying weakness of the film, and keeps it from being a satisfying film, is the vague character of the prodigal son. While it seems that his older, folk art collecting wife probably lusted after him at first sight because he was the first cute straight guy who walked into her gallery (and I assume there is some significance that he buys the painting that doesn't make him happy), their quickie marriage seem to be based only on newlywed randiness, as everything seems to turn them on. Taking after his father busy woodworking away in the basement, he pretty much sloths out in the house or car, so it is confusing hypocrisy when he suddenly steps up to the plate in an emergency, accuses his wife of not putting family first and then bails on the follow up.
Alessandro Nivola well portrays a literal golden boy who is, of course, his mother's heart's delight and in her eyes can do no wrong (even he acknowledges that his new wife is bound to discover his faults), though people who have different positions in their families may interpret the sibling behaviors in different ways. But the film only shows us how people react to him and very little about him other than his casual sense of entitlement, though the mostly silent guy to guy communication is realistic.
Other than one superbly beautiful hymn sung by Nivola (he also sang well as rock star in "Laurel Canyon"), the soundtrack does not take the T. Bone Burnett traditional songs approach, but instead has a score by Hoboken, NJ's own Yo La Tengo that doesn't take sides between the country or the big city.
Instead, debut writer Angus MacLachlan has brought "George" home to North Carolina as a coincidence of his new wife's job and life has gone on without him and will continue when he's gone again.
Debut director Phil Morrison does a lovely job of visually establishing how each person in the family has staked out their physical space and roles within the family, even as sounds and light uncomfortably carry through the walls and beyond the rooms. I haven't seen every inch of a normal house used as a movie setting so intensively since "The Brothers McMullen," complete with blowing up an air mattress in the nursery.
Those scenes contrast with how different the family members are outside that house, such as the sullen, angry brother (Benjamin McKenzie) perking up comfortably with his fellow warehouse workers and "George" easily fitting back into a church service.
While the usual is to have the spouse's estranged family be colorfully ethnic or straight-laced WASP as a comic contrast, a la the "Meet the Fockers" mode, here they are complicated rural folk and are not condescended to, even as no good deed goes unpunished. Both sides receive their share of mockery and sympathy from the story; everyone's hypocrisy and humanity are revealed and at least two scenes bring tears to the eyes, one touching and the other sad.
While everyone is speaking English, the miscommunications abound, though it is a bit heavy-handed to have the English-bred wife coach the brother on "Huckleberry Finn," let alone her bizarre negotiations with a probably crazy local artist. Each either takes a comment too literally or misinterprets passive aggressive silences; what people don't say comes to be more important than what they do say, as even Amy Adams' wonderfully chatty character is warm-heartedly mature and caring.
The big, annoying weakness of the film, and keeps it from being a satisfying film, is the vague character of the prodigal son. While it seems that his older, folk art collecting wife probably lusted after him at first sight because he was the first cute straight guy who walked into her gallery (and I assume there is some significance that he buys the painting that doesn't make him happy), their quickie marriage seem to be based only on newlywed randiness, as everything seems to turn them on. Taking after his father busy woodworking away in the basement, he pretty much sloths out in the house or car, so it is confusing hypocrisy when he suddenly steps up to the plate in an emergency, accuses his wife of not putting family first and then bails on the follow up.
Alessandro Nivola well portrays a literal golden boy who is, of course, his mother's heart's delight and in her eyes can do no wrong (even he acknowledges that his new wife is bound to discover his faults), though people who have different positions in their families may interpret the sibling behaviors in different ways. But the film only shows us how people react to him and very little about him other than his casual sense of entitlement, though the mostly silent guy to guy communication is realistic.
Other than one superbly beautiful hymn sung by Nivola (he also sang well as rock star in "Laurel Canyon"), the soundtrack does not take the T. Bone Burnett traditional songs approach, but instead has a score by Hoboken, NJ's own Yo La Tengo that doesn't take sides between the country or the big city.
Junebug Reviewed by Sam Osborn of www.samseescinema.com
Rating: 3.5 out of 4
There's a magic to Junebug that's nearly impossible to describe with words. To explain it literally would be to describe a slow, mundane, and worthless story. But, of course, there's much more to Junebug than a story that's slow, mundane and worthless. Iconic independent director Phil Morrison's film takes a patient and immersive look at small town life. There's a profound harmony at work between the characters that, from my experience with small town family in relatives' homes, seems to be true to reality. All at once each character is happy and unhappy with their situation and with everyone surrounding them. There's pain, but within the pain is deep-rooted happiness and content. And when a foreigner enters the home as new family, we the audience are meant to take the foreigner's perspective.
After meeting George (Alessandro Nivola) at her art gallery's auction, Madeleine (Embeth Davidtz) finds herself married to the man after little over a week. Months later she travels into a rural suburbia of South Carolina to meet with the peculiar and absurdly profound artist David Wark (Frank Hoyt Taylor), and also to meet for the first time her new family. Unfamiliar with the family's southern lifestyle, she enters the house with the open mind unique only to artists. Immediately embraced by the lonely Ashley (Amy Adams), whose relationship to Johnny (Benjamin McKenzie) has yielded a seemingly unhappy pregnancy and lonely marriage, Madeleine is equally repelled by the mother and leader of the household, Peg (Celia Weston). Each couple (the parents, Ashley and Johnny, and Madeleine and George) sleeps in a separate room, divided only by paper thin walls that do little to contain sound, making nights into festivals of eavesdropping. The unborn baby, Junebug, has a room all to herself, seeming to hold all hope that is left for happiness in the family.
In most films where a foreigner enters a deep-rooted household, the story usually loses itself with the dramatic changes the foreigner brings. But Phil Morrison thankfully avoids this cliché and instead lets our foreigner simply observe. There's actually a sequence dedicated entirely to the observation of each room in the home, where we, like the foreigner, are meant to find all the charming nuances of the house's decoration. Meticulous details are fully realized, with the placement of the cigarettes, the oddly shaped and colored lampshades, the material of the couches, and every tiny element of this lifestyle that may be new to all us "city folk." The foreigner actually has as little power over the family as the audience does. Instead of her acting as the catalyst for the family's change, the title character, Junebug, who's kicking and growing within Ashley's stomach holds this power. It's an affective storytelling method that allows us to connect with the foreigner, Madeleine, and consequently, find ourselves immersed further into Junebug's intimate tale.
In a story as quiet and intimate as Junebug, it's imperative that body language plays as much a role as dialogue. The cast must exude emotions past words and extend their skills to inhabit their characters completely. Each actor achieves this rare performance, particularly Amy Adams and Benjamin McKenzie, playing Ashley and Johnny. Their marriage has a unique understanding to it that's difficult for the audience to grasp until the end. But when we realize their situation, the nuances of their performances are blissfully revealed.
Conventional laws of cinema rarely allow small town life to be realistically portrayed. The calm, resonating harmony that resides in the lifestyle doesn't offer much in the way of excitement. I suppose it requires the confidence of an independent distributor and the eye and pen of a wonderful director and screenwriter. Phil Morrison and Angus MacLachlan's collaboration here with Junebug offers up this unique portrait with nothing but extreme and satisfying clarity.
-Sam Osborn of www.samseescinema.com
Rating: 3.5 out of 4
There's a magic to Junebug that's nearly impossible to describe with words. To explain it literally would be to describe a slow, mundane, and worthless story. But, of course, there's much more to Junebug than a story that's slow, mundane and worthless. Iconic independent director Phil Morrison's film takes a patient and immersive look at small town life. There's a profound harmony at work between the characters that, from my experience with small town family in relatives' homes, seems to be true to reality. All at once each character is happy and unhappy with their situation and with everyone surrounding them. There's pain, but within the pain is deep-rooted happiness and content. And when a foreigner enters the home as new family, we the audience are meant to take the foreigner's perspective.
After meeting George (Alessandro Nivola) at her art gallery's auction, Madeleine (Embeth Davidtz) finds herself married to the man after little over a week. Months later she travels into a rural suburbia of South Carolina to meet with the peculiar and absurdly profound artist David Wark (Frank Hoyt Taylor), and also to meet for the first time her new family. Unfamiliar with the family's southern lifestyle, she enters the house with the open mind unique only to artists. Immediately embraced by the lonely Ashley (Amy Adams), whose relationship to Johnny (Benjamin McKenzie) has yielded a seemingly unhappy pregnancy and lonely marriage, Madeleine is equally repelled by the mother and leader of the household, Peg (Celia Weston). Each couple (the parents, Ashley and Johnny, and Madeleine and George) sleeps in a separate room, divided only by paper thin walls that do little to contain sound, making nights into festivals of eavesdropping. The unborn baby, Junebug, has a room all to herself, seeming to hold all hope that is left for happiness in the family.
In most films where a foreigner enters a deep-rooted household, the story usually loses itself with the dramatic changes the foreigner brings. But Phil Morrison thankfully avoids this cliché and instead lets our foreigner simply observe. There's actually a sequence dedicated entirely to the observation of each room in the home, where we, like the foreigner, are meant to find all the charming nuances of the house's decoration. Meticulous details are fully realized, with the placement of the cigarettes, the oddly shaped and colored lampshades, the material of the couches, and every tiny element of this lifestyle that may be new to all us "city folk." The foreigner actually has as little power over the family as the audience does. Instead of her acting as the catalyst for the family's change, the title character, Junebug, who's kicking and growing within Ashley's stomach holds this power. It's an affective storytelling method that allows us to connect with the foreigner, Madeleine, and consequently, find ourselves immersed further into Junebug's intimate tale.
In a story as quiet and intimate as Junebug, it's imperative that body language plays as much a role as dialogue. The cast must exude emotions past words and extend their skills to inhabit their characters completely. Each actor achieves this rare performance, particularly Amy Adams and Benjamin McKenzie, playing Ashley and Johnny. Their marriage has a unique understanding to it that's difficult for the audience to grasp until the end. But when we realize their situation, the nuances of their performances are blissfully revealed.
Conventional laws of cinema rarely allow small town life to be realistically portrayed. The calm, resonating harmony that resides in the lifestyle doesn't offer much in the way of excitement. I suppose it requires the confidence of an independent distributor and the eye and pen of a wonderful director and screenwriter. Phil Morrison and Angus MacLachlan's collaboration here with Junebug offers up this unique portrait with nothing but extreme and satisfying clarity.
-Sam Osborn of www.samseescinema.com
- samseescinema
- Sep 6, 2005
- Permalink
After viewing "Junebug" for the second time, I have concluded that the film contains a darker theme just beneath the surface of light-hearted humor and gentle parody. Throughout the film, there are occasional shots of empty rooms, silent streets and dark woods that are at odds with the message conveyed by the action. Generally, we are treated to contrasting images: a room filled with people is followed by a shot of the same room, empty and silent. A church parking lot devoid of people followed by the same scene filled with noise and celebration. The dark woods beyond the deck appear sinister. I got the distinct feeling that the filmmaker wished to suggest that the laughter and interaction of this family was a fragile veneer. Just beneath the surface was a terrible emptiness that could not be disguised by gaudy art, wood paneling and the celebration of family rituals. Although the majority of this wonderful film gave a warm and affectionate treatment of this Southern family, these brief images of silence and emptiness are like teasing glimpses of "the skull beneath the flesh." Did anyone else get the same reaction?
- GCarden498
- Aug 16, 2006
- Permalink
I've enjoyed reading a few of the "loved it" ratings and a few of the 'hated it" ratings of movies I've seen recently...and find myself able to agree with aspects of both. The "haters" here complain this movie is slow, plot less and stereotypes Southerners. Some of that is true...this is definitely a character study, slice-of-life, indie film. Some viewers look forward to that, and are pleased when everything including the kitchen sink is not forced into a script.
The strength of this film is the interface between characters. I found them quirkily individual enough to be believable. Amy Adams positively inhabits the role of a strong, faithful, but childish, young mother, and her interactions with an intellectual, worldly, professional sister-in-law are touching, and funny. The interactions between the controlling Southern mother with her silent but wise husband and her redneck son are credible and well enough written. Also, there is a somewhat crazy, but highly inspired visionary artist....and that is a frightening and accurate portrayal.
Unfortunately, there are character inconsistencies, and the film does seem to linger in the sadder aspects of the story more than I would've liked, especially for a movie whose comic bits were so strongly done. It is not a broad comedy, but an investigation of goals and faith done through a brilliant cast who make you chuckle. Afterwards, the humor and heartache portrayed by Amy Adams' character is so wonderfully written and acted, I wished for a whole film just about her.
The strength of this film is the interface between characters. I found them quirkily individual enough to be believable. Amy Adams positively inhabits the role of a strong, faithful, but childish, young mother, and her interactions with an intellectual, worldly, professional sister-in-law are touching, and funny. The interactions between the controlling Southern mother with her silent but wise husband and her redneck son are credible and well enough written. Also, there is a somewhat crazy, but highly inspired visionary artist....and that is a frightening and accurate portrayal.
Unfortunately, there are character inconsistencies, and the film does seem to linger in the sadder aspects of the story more than I would've liked, especially for a movie whose comic bits were so strongly done. It is not a broad comedy, but an investigation of goals and faith done through a brilliant cast who make you chuckle. Afterwards, the humor and heartache portrayed by Amy Adams' character is so wonderfully written and acted, I wished for a whole film just about her.
Madeleine (Embeth Davidtz) is a successful Chicago dealer of outsider art. She has a trip to see an artist and takes the opportunity to meet her husband George (Alessandro Nivola)'s family 30 minutes away in North Carolina. His mother Peg (Celia Weston) is bossy and his father Eugene (Scott Wilson) is quiet. His younger brother Johnny (Benjamin McKenzie) is a resentful loser with flighty pregnant wife Ashley (Amy Adams). Ashley intends to name the baby Junebug.
It's very odd to realize that Amy Adams is not the lead actress because she's the main thing I remember about this film. She's a complete whirlwind overpowering everybody and everything. She's crazy hilarious with every facial expression and desperate neediness. The other takeaway for me back then was that Benjamin McKenzie can reasonably act. Watching again, Amy Adams is still hilarious and her energy really drives the movie. Director Phil Morrison's style is quiet indie. It probably could have helped to work more towards Amy Adams' quirky tone.
It's very odd to realize that Amy Adams is not the lead actress because she's the main thing I remember about this film. She's a complete whirlwind overpowering everybody and everything. She's crazy hilarious with every facial expression and desperate neediness. The other takeaway for me back then was that Benjamin McKenzie can reasonably act. Watching again, Amy Adams is still hilarious and her energy really drives the movie. Director Phil Morrison's style is quiet indie. It probably could have helped to work more towards Amy Adams' quirky tone.
- SnoopyStyle
- Aug 23, 2015
- Permalink
A very intelligent script, with direction that does it justice. Rather than spelling out exactly what we're supposed to be thinking and feeling at every moment, the filmmakers respect the audience's ability to infer meaning from the mood and tone, from the light in a frame or the ambient noise of a scene (or, for that matter, from the complete silence in which we occasionally are allowed to contemplate the house and small town where the story is set). As for the actors, they must have been thrilled to have the chance to play such complex, well-rounded characters, each of them at times being fine and even something like noble, at other times frustrating and perhaps even cruel. Just like real people, in other words. Amy Adams deserves the praise she's received for a role that could have easily been a caricature, but I'd like to also mention Embeth Davidtz for her precise and empathetic work in another part that might have easily been done in a hackneyed way.
All through this film, there are moments where we fear that its makers are going to settle for the cliché, but they never do. By the end, we feel that we've learned a great deal about the characters and the community which produced them, and we also sense that we'll never fully grasp all of their mysteries and contradictions. Very fine work from everyone involved.
All through this film, there are moments where we fear that its makers are going to settle for the cliché, but they never do. By the end, we feel that we've learned a great deal about the characters and the community which produced them, and we also sense that we'll never fully grasp all of their mysteries and contradictions. Very fine work from everyone involved.
- williamwolfe
- Aug 8, 2005
- Permalink
- jamie-carrick
- Aug 27, 2016
- Permalink
Some films do not need to tie in every little plot detail in order to make for a more true to life form. Not all families discuss their problems or their angst openly. Most of the time you have to decipher them through little nuanced non-verbal symbols. Junebug does it perfectly.
At the base the plot follows newlyweds on their trek to NC from Chicago as the wife, Madeline, goes to close a deal with an eccentric southern painter. While there they decide to stop in and see her husband, George's family, who comes form NC originally. He has tried to separate himself from that culture and his family altogether. He has been married for six months and his family were not invited to the wedding, and his brother holds strong feelings of jealousy against him. It seems ho-hum form the plot synopsis, but then comes Amy Adams as the brother, Johnathan's wife and very pregnant Ashley.
Amy Adams is absolutely amazing. She brings a charm and wit to this picture when it seems like it is a bit dreary. Her heartwarming turn as an optimistic and young mother to be with a heart of southern gold is achingly warm and sincere. She alone makes the film a must see as she can force the audience from laughter to tears with the flip of a dime.
The direction is poetic and the cinematography allows for an unbelievably laid back southern tone. Nothing about this film is rushed and that makes it so wonderful to behold. Seeing how a family can generally and truly love each other inside, and because of cultural and societal norms strive to find ways to show love and respect for each other is achingly sincere. Sometimes you as the audience scream for them to communicate, especially the brothers as their strife is never discussed or resolved just tolerated.
Overall this film is a great cultural study that goes beyond stereotype to show the love and respect the writer and director have for the material and the people of North Carolina. This is a truly warm and comforting piece of southern pleasure that shines in a pool of darkness that is Sundance 2005.
At the base the plot follows newlyweds on their trek to NC from Chicago as the wife, Madeline, goes to close a deal with an eccentric southern painter. While there they decide to stop in and see her husband, George's family, who comes form NC originally. He has tried to separate himself from that culture and his family altogether. He has been married for six months and his family were not invited to the wedding, and his brother holds strong feelings of jealousy against him. It seems ho-hum form the plot synopsis, but then comes Amy Adams as the brother, Johnathan's wife and very pregnant Ashley.
Amy Adams is absolutely amazing. She brings a charm and wit to this picture when it seems like it is a bit dreary. Her heartwarming turn as an optimistic and young mother to be with a heart of southern gold is achingly warm and sincere. She alone makes the film a must see as she can force the audience from laughter to tears with the flip of a dime.
The direction is poetic and the cinematography allows for an unbelievably laid back southern tone. Nothing about this film is rushed and that makes it so wonderful to behold. Seeing how a family can generally and truly love each other inside, and because of cultural and societal norms strive to find ways to show love and respect for each other is achingly sincere. Sometimes you as the audience scream for them to communicate, especially the brothers as their strife is never discussed or resolved just tolerated.
Overall this film is a great cultural study that goes beyond stereotype to show the love and respect the writer and director have for the material and the people of North Carolina. This is a truly warm and comforting piece of southern pleasure that shines in a pool of darkness that is Sundance 2005.
After spending many years living in Chicago, George (Alessandro Nivola) has return home to North Carolina, giving him a chance to introduce his British art dealer wife Madeleine (Embeth Davitz) to his family. Although they all seem nice at first, especially his enthusiastic and quite pregnant sister-in-law Ashley (Amy Adams), the family is suspicious of trusting an outsider with their secrets, which all start to come out the longer they stay there.
I wanted to love Junebug and wound up just barely liking it. Besides for a couple performances, the film just left me cold. First, a few of the characters were not developed very well. It was hard for me to become emotionally engaged with these people because most of them were either two faced or bland. For example, George was portrayed as this nice guy that everyone loved but I found him to be kind of dull. He hardly ever spoke and I just couldn't understand his appeal to other people. I understood why his family liked him but why did the rest of the community like him? It didn't make a whole lot of sense. He also seemed to be a little two faced. For the majority of the film, it didn't seem like he was bothered by his family despite the usual negative stereotypes that accompany that location. However after his departure, he was glad to finally leave. The character seemed to go in a bunch of different directions without much thought.
George's father Eugene was even more quiet. I think he was supposed to be one of those "strong and silent" types but he came off looking kind of weak. He didn't really do anything in the film and he was kind of bland. George's brother Johnny was a bit more obvious. He was a bitter man despite the fact (or maybe because) his wife was going to give birth. He was stuck in a dead end job and he had to retake high school classes. He was also jealous of his brother since they were total opposites. However, I didn't understand why he threw a wrench at his brother. It seemed a little random but maybe he really didn't like him or maybe he was upset about the baby. I don't think the director handled that scene and character very well. Peg (the mom) was just a mean woman. She didn't want a "stranger" coming in and messing things up. She started to open up near the end but her conversations with Madeleine always felt cold and distant.
The only two characters I liked were Madeline and Ashley. You will either love Ashley or hate her. I found her enthusiastic personality to be contagious and she was very likable. It was very hard to watch when she was at the hospital and asking God out loud why he would let this terrible thing happen. That was probably the film's strongest and most memorable scene. I think the director was trying to make Madeleine look like the bad guy. For the first half of the film, she tried to get along with the family. She became friends with Ashley but Peg and Johnny were mean around her. Johnny just looked uncomfortable around her since they came from different backgrounds and Peg didn't want a stranger in the house. Before she left, Madeleine kind of made up with Peg but her relationship with Johnny was still weak. For the second half of the film, she cared more about work than family. She didn't want to go to the hospital with George because she had to sign a deal with this racist painter. I thought they were going to break up since they both wanted to go to different places but they didn't. They also never mentioned this again so George may not have been too bothered by this. Also, painter was really annoying and his work wasn't all that great. I guess Madeleine saw something different though.
The acting was decent with Amy Adams giving the best performance. She was terrific as Ashley and she deserved her Oscar nomination. Embeth Davitz was also pretty good as Madeleine though not Oscar worthy. Celia Weston was okay, nothing special. Benjamin McKenzie surprised me the most and he gave a good performance. Alessandro Nivola was average and Scott Wilson was just okay. Overall, I thought the screenplay was mediocre. They were a few good scenes but also a lot of poorly handled ones. The director and writer seemed to focus on just Ashley and Madeleine and some of the dramatic scenes weren't as good as they could have been. However, I have to give credit to Peter Donahue. The cinematography was excellent and the entire film was beautiful. In the end, Junebug is a decent film that should make for a good rental. Rating 6/10
I wanted to love Junebug and wound up just barely liking it. Besides for a couple performances, the film just left me cold. First, a few of the characters were not developed very well. It was hard for me to become emotionally engaged with these people because most of them were either two faced or bland. For example, George was portrayed as this nice guy that everyone loved but I found him to be kind of dull. He hardly ever spoke and I just couldn't understand his appeal to other people. I understood why his family liked him but why did the rest of the community like him? It didn't make a whole lot of sense. He also seemed to be a little two faced. For the majority of the film, it didn't seem like he was bothered by his family despite the usual negative stereotypes that accompany that location. However after his departure, he was glad to finally leave. The character seemed to go in a bunch of different directions without much thought.
George's father Eugene was even more quiet. I think he was supposed to be one of those "strong and silent" types but he came off looking kind of weak. He didn't really do anything in the film and he was kind of bland. George's brother Johnny was a bit more obvious. He was a bitter man despite the fact (or maybe because) his wife was going to give birth. He was stuck in a dead end job and he had to retake high school classes. He was also jealous of his brother since they were total opposites. However, I didn't understand why he threw a wrench at his brother. It seemed a little random but maybe he really didn't like him or maybe he was upset about the baby. I don't think the director handled that scene and character very well. Peg (the mom) was just a mean woman. She didn't want a "stranger" coming in and messing things up. She started to open up near the end but her conversations with Madeleine always felt cold and distant.
The only two characters I liked were Madeline and Ashley. You will either love Ashley or hate her. I found her enthusiastic personality to be contagious and she was very likable. It was very hard to watch when she was at the hospital and asking God out loud why he would let this terrible thing happen. That was probably the film's strongest and most memorable scene. I think the director was trying to make Madeleine look like the bad guy. For the first half of the film, she tried to get along with the family. She became friends with Ashley but Peg and Johnny were mean around her. Johnny just looked uncomfortable around her since they came from different backgrounds and Peg didn't want a stranger in the house. Before she left, Madeleine kind of made up with Peg but her relationship with Johnny was still weak. For the second half of the film, she cared more about work than family. She didn't want to go to the hospital with George because she had to sign a deal with this racist painter. I thought they were going to break up since they both wanted to go to different places but they didn't. They also never mentioned this again so George may not have been too bothered by this. Also, painter was really annoying and his work wasn't all that great. I guess Madeleine saw something different though.
The acting was decent with Amy Adams giving the best performance. She was terrific as Ashley and she deserved her Oscar nomination. Embeth Davitz was also pretty good as Madeleine though not Oscar worthy. Celia Weston was okay, nothing special. Benjamin McKenzie surprised me the most and he gave a good performance. Alessandro Nivola was average and Scott Wilson was just okay. Overall, I thought the screenplay was mediocre. They were a few good scenes but also a lot of poorly handled ones. The director and writer seemed to focus on just Ashley and Madeleine and some of the dramatic scenes weren't as good as they could have been. However, I have to give credit to Peter Donahue. The cinematography was excellent and the entire film was beautiful. In the end, Junebug is a decent film that should make for a good rental. Rating 6/10
- christian123
- Aug 4, 2006
- Permalink
- kathiklein
- Apr 16, 2019
- Permalink
Phil Morrison has created a film that is among the best I've seen so far in 2005. He has taken a simple country mouse-city mouse tale and given it cosmic implications. It is the story of everyone who grew up in the boonies and then gone on to make it big in the big city. It beautifully portrays the embarrassment you feel about taking a worldly spouse back to your small hometown and its pettiness; the small-mindedness and envy of the siblings who never left town or made good; the reinvention of one's self when one moves to a big metropolis like Chicago. I did NOT feel the Bible Belt North Carolinians were stereotyped, as some viewers have remarked; I felt they were all portrayed as real people who simply had a tough time articulating their feelings, and who were just SIMPLE people...church-goers, family people who have no complexity of emotions or doubts, like city people are wont to have. The actress who played the sister-in-law was brilliant, funny and totally believable; the mother was the next Gena Rowlands; Alessandro Nivola and the girlfriend were extremely appealing ciphers (which they were supposed to be); and the unrestrained horror of their having to return to this small Southern town was so palpable, that it made watching the film very uncomfortable at times (especially if a viewer's own life resembles that of the main characters'). Deliberately underwritten, beautifully paced, it is one to remember, savor, and wind up at the Festivals. Bravo!
I really did not like this film.
I usually like quirky independent films, but this was more like watching the cartoon "King of the Hill," than "The Station Agent," Me and You and Everyone We Know," or "Pieces of April."
The problem with "Junebug" is that there are no likable characters. I just saw a bunch of stereotyped dumb Southerners that really had no good qualities. I guess that was supposed to be funny, but I wasn't laughing. Madeleine, the Northener, was real nice and understanding, but there was not much depth to her character. Her Southern husband was hardly in the film and we are not given any reason why they got married other than physical attraction.
Sitting through this film for an hour and 40 minutes was an unpleasant experience. The photography was rather plain, the dialog was forgettable, and the ending did not resolve anything. The acting was good, but not good enough to save the film.
Apparently lots of people like this film because it has gotten pretty good reviews. Maybe those are the people who have kept "King of the Hill" on the air for so long.
I usually like quirky independent films, but this was more like watching the cartoon "King of the Hill," than "The Station Agent," Me and You and Everyone We Know," or "Pieces of April."
The problem with "Junebug" is that there are no likable characters. I just saw a bunch of stereotyped dumb Southerners that really had no good qualities. I guess that was supposed to be funny, but I wasn't laughing. Madeleine, the Northener, was real nice and understanding, but there was not much depth to her character. Her Southern husband was hardly in the film and we are not given any reason why they got married other than physical attraction.
Sitting through this film for an hour and 40 minutes was an unpleasant experience. The photography was rather plain, the dialog was forgettable, and the ending did not resolve anything. The acting was good, but not good enough to save the film.
Apparently lots of people like this film because it has gotten pretty good reviews. Maybe those are the people who have kept "King of the Hill" on the air for so long.
- brenttraft
- Aug 27, 2005
- Permalink
We never learn the cause of enmity between the two brothers. Is it serious or is it trivial? Why is George so silent? When his brother throws a wrench at him, hitting him in the head, he leaves without a word. He remains behind at the hospital to be 'be with' and console the sister-in-law; she does all the talking but he doesn't say a word. Throughout the movie people ask George questions, but he doesn't reply. Someone has said that the movie allows the audience to make their own inferences rather than be directed toward a certain end. I can fill an empty space as well as the next man, but I needed a rest from this movie. Way too much empty space!
- linc-hunter
- Aug 9, 2006
- Permalink
Worldly, willowy art dealer from Chicago, a newlywed hoping to sign a notoriously shy, eccentric artist to her gallery, travels with her spouse down to North Carolina for the meeting; her husband's family, whom he hasn't seen in three years, happens to live nearby, and the husband's pregnant sister-in-law develops a hero-worship for the new in-law. Carefully-woven but frustratingly hesitant screenplay never allows a character to finish his or her own thoughts; the start-and-stop conversations are the basis for the relationships which transpire here--but since nothing is ever really said, the film seems rather facetious in an annoying way. On the other hand, it has some very good acting work by Amy Adams as the perky expectant mother, Alessandro Nivola as the prodigal son, and Scott Wilson as the hen-pecked patriarch (Wilson's gentle, passive face and busy hands are a thing of beauty, yet director Phil Morrison always has him entering and exiting in the middle of scenes). Some of the dramatic consequences of this family reunion aren't delved into with the depth they require in order to really succeed--and again, the problem lies with Angus MacLachlan's screenplay--but there are memorable characters here and some funny talk and local color. Morrison seems to want to get out of town as fast as the city couple does, which makes one wonder where his heart lies within this piece. **1/2 from ****
- moonspinner55
- Jun 13, 2008
- Permalink
Greetings again from the darkness. Director Phil Morrison and Writer Angus MacLachlan collaborated on "Tater Tomater", which was featured at 1990's Sundance Festival. Together again, they have created a nice home-spun tapestry of family relationships. Despite its seemingly bizarre group of characters, we find ourselves easily relating to the difficulties in understanding and communicating with those in our family - those who should be most like us.
The filmmakers have assembled a cast of mostly veteran actors, but no Hollywood "stars". The most recognizable is Benjamin McKenzie ("The O.C.") who plays the simmering quiet little brother whose wife, played brilliantly by Amy Adams, is with child. Others include Embeth Davidtz as the wife of prodigal son George (Alessandro Nivola, who played Pollux Troy in the underrated "Face/Off"); an electric Frank Hoyt Taylor as the off-center civil war artist David Wark; and veterans Celia Weston and Scott Wilson as the parents of the feuding boys. As a point of interest look for Saturday Night Live alum Victoria Jackson as one of the nurses.
Although the film's heart and soul is the theme of family and the stress it creates, while somehow producing the draw that cannot be ignored, it also does a really wonderful job of capturing the spirit of southern small time living. At the center of all of this is Amy Adams, who literally steals the film as the eternally optimistic and determined "firecracker" Ashley. Her performance is outstanding, multi-layered, thought-provoking and genuine. Kind of doubt that this film will receive the necessary attention to have her nominated for an Academy Award, but she deserves one.
This is a necessarily slow-moving film that can be uncomfortable to watch, while at the same time causing you to smile, laugh and even tear up.
The filmmakers have assembled a cast of mostly veteran actors, but no Hollywood "stars". The most recognizable is Benjamin McKenzie ("The O.C.") who plays the simmering quiet little brother whose wife, played brilliantly by Amy Adams, is with child. Others include Embeth Davidtz as the wife of prodigal son George (Alessandro Nivola, who played Pollux Troy in the underrated "Face/Off"); an electric Frank Hoyt Taylor as the off-center civil war artist David Wark; and veterans Celia Weston and Scott Wilson as the parents of the feuding boys. As a point of interest look for Saturday Night Live alum Victoria Jackson as one of the nurses.
Although the film's heart and soul is the theme of family and the stress it creates, while somehow producing the draw that cannot be ignored, it also does a really wonderful job of capturing the spirit of southern small time living. At the center of all of this is Amy Adams, who literally steals the film as the eternally optimistic and determined "firecracker" Ashley. Her performance is outstanding, multi-layered, thought-provoking and genuine. Kind of doubt that this film will receive the necessary attention to have her nominated for an Academy Award, but she deserves one.
This is a necessarily slow-moving film that can be uncomfortable to watch, while at the same time causing you to smile, laugh and even tear up.
- ferguson-6
- Aug 29, 2005
- Permalink
I really wanted to like JUNEBUG. I'm from the South and have family that're a lot like the folk in this movie...but it's deeply obvious this thing was made by males who really didn't understand women while the men were held to a level of silence that was supposed to be...I dunno...something Gary Cooperish in depth? The fact is, in my view these characters would have been caricatures and the story trite were it not for some damn fine casting.
The story is simple -- a young man making it good in the big city comes home with his new city wife...where she finds he's got a lot of family behind him and all of them are 180 degrees her opposite in sense and sensibility. There's the angry younger brother, the mother who ain't happy her perfect older son's married, the father who can't speak more than four words at a time, the perky pregnant wife of said younger brother, the "Church-meetin'-folk" (who thankfully were not cynically treated as fools, for once), the crazy backwoods artist bein' discovered, Grandma Moses-like, and of course the usual family tragedy that shakes up everyone.
Now as I said, I have no nits to pick with the acting; the taut intelligence of Embeth Davidtz, the bubbly-nervous insistence of Amy Adams, the grumbling wariness of Celia Weston, the painful silence of Scott Wilson, the quiet avoidance of Alessandro Nivola...and especially the inarticulate anger and fear of Benjamin McKenzie -- they made this movie work despite the pedestrian writing and adequate directing. Period.
Truly, it was the interaction between the actors that carried this story to the point of having any depth or meaning. Their background information is minimal -- did Johnny have to quit high school to marry Ashley because he got her pregnant? No idea...just a maybe. Were George and Ashley interested in each other at one time? No idea...just sort of kind of...maybe. Does George not go to church on Sundays in Chicago? Looks like a "no" on that...but it's not commented upon by his new wife. She's older than him...I think...so why'd they get married? Love? Perfect match? Horniness? Dunno, they just did after a quickie in her gallery. Madeline's a woman who knows what she wants and goes after it -- witness how she goes after George and the artist (whose work is horribly racist and homophobic but probably the truest thing in the movie) -- but she lets this secretive, demanding, uncommunicative boy-man tell her what she can and cannot do as they're getting ready to leave...all but silently lets him. Why, when it's so opposite to how her character's behaved up to this point?
Y'know, sometimes silence is NOT golden. For it to work in a story...in a film...it has to have context and be indicative of something other than just an unwillingness on the part of the storytellers to write what needs to be said. That the six above mentioned actors were able to imbue something meaningful into nothing is a testament to their abilities. Which is too bad; imagine what they could have done if Phil Morrison and Angus MacLaclan had given them honeysuckle to work with instead of kudzu.
The story is simple -- a young man making it good in the big city comes home with his new city wife...where she finds he's got a lot of family behind him and all of them are 180 degrees her opposite in sense and sensibility. There's the angry younger brother, the mother who ain't happy her perfect older son's married, the father who can't speak more than four words at a time, the perky pregnant wife of said younger brother, the "Church-meetin'-folk" (who thankfully were not cynically treated as fools, for once), the crazy backwoods artist bein' discovered, Grandma Moses-like, and of course the usual family tragedy that shakes up everyone.
Now as I said, I have no nits to pick with the acting; the taut intelligence of Embeth Davidtz, the bubbly-nervous insistence of Amy Adams, the grumbling wariness of Celia Weston, the painful silence of Scott Wilson, the quiet avoidance of Alessandro Nivola...and especially the inarticulate anger and fear of Benjamin McKenzie -- they made this movie work despite the pedestrian writing and adequate directing. Period.
Truly, it was the interaction between the actors that carried this story to the point of having any depth or meaning. Their background information is minimal -- did Johnny have to quit high school to marry Ashley because he got her pregnant? No idea...just a maybe. Were George and Ashley interested in each other at one time? No idea...just sort of kind of...maybe. Does George not go to church on Sundays in Chicago? Looks like a "no" on that...but it's not commented upon by his new wife. She's older than him...I think...so why'd they get married? Love? Perfect match? Horniness? Dunno, they just did after a quickie in her gallery. Madeline's a woman who knows what she wants and goes after it -- witness how she goes after George and the artist (whose work is horribly racist and homophobic but probably the truest thing in the movie) -- but she lets this secretive, demanding, uncommunicative boy-man tell her what she can and cannot do as they're getting ready to leave...all but silently lets him. Why, when it's so opposite to how her character's behaved up to this point?
Y'know, sometimes silence is NOT golden. For it to work in a story...in a film...it has to have context and be indicative of something other than just an unwillingness on the part of the storytellers to write what needs to be said. That the six above mentioned actors were able to imbue something meaningful into nothing is a testament to their abilities. Which is too bad; imagine what they could have done if Phil Morrison and Angus MacLaclan had given them honeysuckle to work with instead of kudzu.
What struck me most about this (amazing)movie was the characters' well-roundedness. George's family and residents of NC are completely believable, fleshed-out, and never just types. Having lived in the piedmont of NC for 11 years (and now living in Chicago) I felt like I was transplanted back with George and Madeleine. The Southern characters' rural way of life was balanced with complexity and the capacity for reflection.
As for the urban characters, they were just as whole and did not fall into urban stereotypes of being hard or snooty. More importantly, Madeleine was not condescending, but as a very well-traveled person would, she understood that they were real people despite their differences.
The humanity of all the characters does not seem careful or imposed (which could have resulted in a bland, politically-correct love-fest); the characters have a great deal of energy between them as they encounter differences and deal with them.
As for the urban characters, they were just as whole and did not fall into urban stereotypes of being hard or snooty. More importantly, Madeleine was not condescending, but as a very well-traveled person would, she understood that they were real people despite their differences.
The humanity of all the characters does not seem careful or imposed (which could have resulted in a bland, politically-correct love-fest); the characters have a great deal of energy between them as they encounter differences and deal with them.
"Junebug" is one of the best independent movies that has been released recently. Phil Morrison, the director, is clearly a new voice in the cinema to be reckoned with. His immensely satisfying "Junebug" has the power to make the viewer gets absorbed into the drama he presents to his audience. Based on a screen play by Angus MacLachlan, the film is a pleasant surprise.
If you haven't seen the film, perhaps you should stop reading here.
At the start of the film, we are taken to Madeleine's gallery in Chicago where an art auction is taking place. The lovely Madeleine is seen behind the scenes, when she suddenly happens to catch sight of George, who happens to be at the event. We are aware of Madeleine's lust for the handsome George, and as fate would have it, they get married.
When Madeleine decides to go to visit one eccentric painter in North Carolina, a visit to George's family is in order. The contrast between the worldly Madeleine and her new in-laws is something we realize right away. The mother, Peg, is a controlling woman who presides over the big household. She is weary of strangers, as she perceives Madeleine to be. The father, Eugene, is a taciturn man who clearly wants to stay away from his wife, hiding in the basement, where he carves animal figures that we never get to see. Johnny, the other son, seems to be resentful of his brother for having left home. His wife Ashley, is the only person who seems to be happy, or at least, adjusted to her situation and surroundings.
The basic trouble with this family is that they don't communicate. Nothing is ever heard about what has made them grow apart. There is no warmth whatsoever from Peg toward anyone at all. In fact, for being this a Christian family, they exhibit no kindness toward Madeleine, who tries to connect with them, to no avail. Johnny misreads his new sister-in-law's kindness with sexuality, which is clearly not the case. It's only Ashley, the simple girl with a heart of gold who seems to be having some semblance being well adjusted in spite of the coldness of her new home.
Amy Adams and Embeth Davidtz, who play Amy and Madeleine, respectively, give amazing portrayals of these two opposite women. Ms. Adams is one of the best things in the film because she hasn't been touched by whatever is making the rest of the family so miserable. Embeth Davidtz, one of the best young actresses working in film and in the theater these days gives a graceful account of Madeleine, a woman of a different background who is accepting and wants to be accepted by her new family.
The rest of the cast is well balanced. Benjamin McKenzie is seen as the frustrated Johnny, who is clearly an unhappy man living with his family. Alessandro Nivola has a great moment when he is asked to sing a hymn at a church gathering. Celia Weston makes Peg, into a mystery, as we can't conceive her reaction toward the woman who married George and can't accept her. Scott Wilson is the father.
"Junebug" is a film that will stay with the viewer for quite a long time after it's finished. Mr. Morrison makes us get involved in the situation he is presenting for us. Clearly, not a film for the great masses, but it will gratify fans of this type of indie that shows a director who clearly has things under control and is not afraid to get the viewer involved in the story.
If you haven't seen the film, perhaps you should stop reading here.
At the start of the film, we are taken to Madeleine's gallery in Chicago where an art auction is taking place. The lovely Madeleine is seen behind the scenes, when she suddenly happens to catch sight of George, who happens to be at the event. We are aware of Madeleine's lust for the handsome George, and as fate would have it, they get married.
When Madeleine decides to go to visit one eccentric painter in North Carolina, a visit to George's family is in order. The contrast between the worldly Madeleine and her new in-laws is something we realize right away. The mother, Peg, is a controlling woman who presides over the big household. She is weary of strangers, as she perceives Madeleine to be. The father, Eugene, is a taciturn man who clearly wants to stay away from his wife, hiding in the basement, where he carves animal figures that we never get to see. Johnny, the other son, seems to be resentful of his brother for having left home. His wife Ashley, is the only person who seems to be happy, or at least, adjusted to her situation and surroundings.
The basic trouble with this family is that they don't communicate. Nothing is ever heard about what has made them grow apart. There is no warmth whatsoever from Peg toward anyone at all. In fact, for being this a Christian family, they exhibit no kindness toward Madeleine, who tries to connect with them, to no avail. Johnny misreads his new sister-in-law's kindness with sexuality, which is clearly not the case. It's only Ashley, the simple girl with a heart of gold who seems to be having some semblance being well adjusted in spite of the coldness of her new home.
Amy Adams and Embeth Davidtz, who play Amy and Madeleine, respectively, give amazing portrayals of these two opposite women. Ms. Adams is one of the best things in the film because she hasn't been touched by whatever is making the rest of the family so miserable. Embeth Davidtz, one of the best young actresses working in film and in the theater these days gives a graceful account of Madeleine, a woman of a different background who is accepting and wants to be accepted by her new family.
The rest of the cast is well balanced. Benjamin McKenzie is seen as the frustrated Johnny, who is clearly an unhappy man living with his family. Alessandro Nivola has a great moment when he is asked to sing a hymn at a church gathering. Celia Weston makes Peg, into a mystery, as we can't conceive her reaction toward the woman who married George and can't accept her. Scott Wilson is the father.
"Junebug" is a film that will stay with the viewer for quite a long time after it's finished. Mr. Morrison makes us get involved in the situation he is presenting for us. Clearly, not a film for the great masses, but it will gratify fans of this type of indie that shows a director who clearly has things under control and is not afraid to get the viewer involved in the story.
Phil Morrison paints a beautiful and sometimes heartbreaking portrait of the ways family bonds and roles change after years spent apart. After marrying an older more sophisticated woman by the name of Madeleine (Embeth Davidtz), George (Alessandro Nivola) takes a trip from Chicago to the bible belt of North Carolina to reunite with his family and introduce his newly wed wife. The clash of culture is evident right from the start and causes a level of constant tension between members of opposing parties. As Madeleine and George's stay becomes longer they begin to find out more and more things about each other that they never knew. At one point these secrets intrigue one another and others force them to reevaluate the person who they thought they knew. George and Madeleine's trip home turns into a learning experience not just for themselves, but also for everyone in the household.
This film's strongest points are easily its writing and acting. Some may argue that some of the characters may come off as a stereotype, but if they were a stereotype they wouldn't be able to articulate themselves in such a poetic manner. Characters have a simple way of communicating with each other but it is always poignant and understated. Phil Morrison keeps the pacing at a pitch perfect speed and the skillful cinematography of Peter Donahue is simple yet effective. The cast is all around superb and plays off each other in such an entertaining manner. There is not one actor that feels out of place as in their character in this film. Amy Adams steals the show as the one light of hope the family holds onto. Her overly bubbly personality might come off as irritating from any other actress but Adams always seems endearing and charming.
As far as recent American independent films go Junebug is a film that transcends certain boundaries that usually constrain independent films. This isn't a film that appeals only to the art house audience rather this is a film that if given a chance really has something for everyone. More than just a "coming home" film Junebug proves itself to be a multi layered film that never tries to hard and comes off as consistently charming no matter what subject matter they are dealing with.
This film's strongest points are easily its writing and acting. Some may argue that some of the characters may come off as a stereotype, but if they were a stereotype they wouldn't be able to articulate themselves in such a poetic manner. Characters have a simple way of communicating with each other but it is always poignant and understated. Phil Morrison keeps the pacing at a pitch perfect speed and the skillful cinematography of Peter Donahue is simple yet effective. The cast is all around superb and plays off each other in such an entertaining manner. There is not one actor that feels out of place as in their character in this film. Amy Adams steals the show as the one light of hope the family holds onto. Her overly bubbly personality might come off as irritating from any other actress but Adams always seems endearing and charming.
As far as recent American independent films go Junebug is a film that transcends certain boundaries that usually constrain independent films. This isn't a film that appeals only to the art house audience rather this is a film that if given a chance really has something for everyone. More than just a "coming home" film Junebug proves itself to be a multi layered film that never tries to hard and comes off as consistently charming no matter what subject matter they are dealing with.
- BandofInsiders
- Oct 26, 2008
- Permalink
JUNEBUG
Despite a few delightful moments, the parts add up to a whole bunch of nothing. It's hard to give a negative review to a movie as well-intentioned and, for lack of a better word, polite as JUNEBUG, but in the end it just didn't come together as anything for me.
Though there were many engrossing scenes that gave us some insight into the lives of these characters, there was no spine to this story to give things a purpose. The film simply relies on it's quirkiness to coast through the running time, and honestly it does breeze by thanks to it. However, quirkiness does not a movie make.
The story revolves around Madleine (Embeth Davidtz) meeting her new husband George's (Alessandro Nivola) family in a small town. The family is incredibly dysfunctional, but in an unspoken, non-violent way. Not a single pair of people in this film seem to have a genuine connection to one another, despite all the niceties they share.
Madeleine, despite what seems to be a good heart, does not seem to have a real relationship with her husband beside an incredibly satisfying sex-life. Her in-laws seem to simply exist in the same household, never seeming to share genuine love. They don't speak, they don't emote, they just generally don't care.
That is, except for poor pregnant Ashley (played by Oscar Nominee Amy Adams). Here is a girl who so desperately tries in vein to connect to anyone she can around her. When Madeliene arrives, she jumps on like a hungry leech desperate for someone to offer her something interesting in life. Madeleine is polite and friendly without a doubt, but she never really connects with Ashley. No one notices Ashley's need for something more, and no one seems to care about anyone enough to help her better her situation.
All the characters in this film have an odd balance in that they are generally polite, good-natured people... but none of them care enough to make a connection with anyone or bother to help a family member desperately in need.
Nothing seems to happen in order to change this family's emotionally distant balance... until a twist at the end that shows George as a man who supposedly cares more about family then anything in the world. However, this comes from nowhere and goes nowhere. Everyone seems to spend there days sleeping the time away and nothing changes in the end.
Every character enters the film the same way they leave it. And despite an entertaining quirkiness, some funny moments, and some good performances, it is all pointless. And though I can't hate on a film that is so friendly as JUNEBUG, I also can't appreciate a film that essentially wastes nearly two hours of my life... no matter how easygoing and likable it is at times.
... C- ...
Despite a few delightful moments, the parts add up to a whole bunch of nothing. It's hard to give a negative review to a movie as well-intentioned and, for lack of a better word, polite as JUNEBUG, but in the end it just didn't come together as anything for me.
Though there were many engrossing scenes that gave us some insight into the lives of these characters, there was no spine to this story to give things a purpose. The film simply relies on it's quirkiness to coast through the running time, and honestly it does breeze by thanks to it. However, quirkiness does not a movie make.
The story revolves around Madleine (Embeth Davidtz) meeting her new husband George's (Alessandro Nivola) family in a small town. The family is incredibly dysfunctional, but in an unspoken, non-violent way. Not a single pair of people in this film seem to have a genuine connection to one another, despite all the niceties they share.
Madeleine, despite what seems to be a good heart, does not seem to have a real relationship with her husband beside an incredibly satisfying sex-life. Her in-laws seem to simply exist in the same household, never seeming to share genuine love. They don't speak, they don't emote, they just generally don't care.
That is, except for poor pregnant Ashley (played by Oscar Nominee Amy Adams). Here is a girl who so desperately tries in vein to connect to anyone she can around her. When Madeliene arrives, she jumps on like a hungry leech desperate for someone to offer her something interesting in life. Madeleine is polite and friendly without a doubt, but she never really connects with Ashley. No one notices Ashley's need for something more, and no one seems to care about anyone enough to help her better her situation.
All the characters in this film have an odd balance in that they are generally polite, good-natured people... but none of them care enough to make a connection with anyone or bother to help a family member desperately in need.
Nothing seems to happen in order to change this family's emotionally distant balance... until a twist at the end that shows George as a man who supposedly cares more about family then anything in the world. However, this comes from nowhere and goes nowhere. Everyone seems to spend there days sleeping the time away and nothing changes in the end.
Every character enters the film the same way they leave it. And despite an entertaining quirkiness, some funny moments, and some good performances, it is all pointless. And though I can't hate on a film that is so friendly as JUNEBUG, I also can't appreciate a film that essentially wastes nearly two hours of my life... no matter how easygoing and likable it is at times.
... C- ...