Mariés et confinés

Lot of overly exaggerated acting by the two leading actors who played the couple. There's nothing to make you interested for this bored-you-to-death British movie. The couple in this movie were not likable at all. I even spotted the guy who played the husband who looked at the camera very often. When they sat at the counter eating mushrooms, his mouth didn't shut tight when chewing, so the noises came out of his mouth were just too overwhelmingly loud and annoying.

There's absolutely nothing worth you to invest over 10 to 15 minutes of your awakening time to watch this lame movie. Just another very typical British movie, totally unnecessary.

Greetings again from the darkness. As expected, we are beginning to see an influx of "pandemic" movies and TV shows. What wasn't expected is the unique and creative approach in this one from Co-directors Stephen Daldry (THE HOURS, 2002) and Justin Martin. The script is from Dennis Kelly and the writing, directing, and acting all work together seamlessly to create quite an unusual viewing experience.

The weight of the movie rests on the outstanding performances from James McAvoy and Sharon Horgan (GAME NIGHT, 2018). They don't simply break the fourth wall, they outright obliterate it. These two characters, whose names we never learn, talk directly to us viewers at least as often as they do to each other. The story begins in March 2020 on the first day of COVID quarantine, and carries through for a full year. As we open, the relationship has admittedly run its course, though as the days go by, circumstances can change things. The two are joined in the house by 10 year old son Artie (Samuel Logan), who spends an inordinate amount of time hovering in the background, hearing the two adults say things he shouldn't hear. They appear to devote very little time to the boy's stress ... although their own feelings are front and center.

It's a bit off-putting at first as we adjust to the couple speaking directly to us. On top of that, the sharing of personal information and the overlapping dialogue of their caustic exchanges meant to hurt, make this feel a bit like we are intruding. But the conversations are so relatable since we've all experienced the uncertainty and frustration wrought by the pandemic. In a short amount of time, we understand these two. He shares the story of his early confrontation with a grocery clerk over his son's food choices, while she explains the guilt associated with an ailing elderly mother during a lockdown. Their "mushroom" story is certainly one for the ages, and again, provides much insight into these two people of distinctly opposite political spectrums.

Daldry and Martin filmed this in just 10 days, and with the entire piece taking place on the lower level of the couple's flat, the film has a definite stage feel - accentuated by the long takes and aura of live performances. The dialogue stands in for action, and Ms. Horgan's explanation of the reality of "exponential growth" in regards to COVID is one of the most stunning math classes you'll attend. This is a case study of personalities and the relationship effects of a pandemic, and it is infused with enough dark comedy to keep it entertaining, rather than depressing. Some similarities exist to the SXSW film THE END OF US, though this one is quite a different viewing experience.

Bleeker Street is releasing TOGETHER in theaters on 8/27/21 and digitally on 9/14/21.

Rivetting confessional fish-bowl one-house production, wonderfully delineated characters (you'll love to hate 'he', but ... well, it's McAvoy, and he'll help you accept the lines that come out of his mouth, even if you disagree with 'him'). Quick-shifting dynamics (never boring: I'm amazed at all the reviews who say so: duh, it's lockdown, perhaps you're not able to relate to these characters and the situation they're in, so jog on) as the relationships react to the emergency outside, what's happening to their family and friends outside, and how this changes them - then, how the characters grow, change, despair, and attempt to cope. The child is very subtly played: the adults are trying to cope, but this means a lot of self-care, and there's not a lot of reserves left to then look after another person.

Lots of empathy and self-examination, and that sense of 'much of this could have been mitigated by effective leadership' vs 'I wish I was brave enough to tell you how much I care'. Highly recommended. Thank you to all involved in making this. When we're all a bit more ready to reflect on what's been eroding our society for the last two years, this film will help us come to terms with what just happened.

James McAvoy and Sharon Horgan are brilliant in this exploration of lockdown dynamics. Writer Dennis Kelly uses the camera, and therefore the audience, as a kind of silent therapist for the characters, a married couple who may be are or may be not at the end of their relationship. There are some bravura solos and duets, carefully charted by director Stephen Daldry. The whole thing is both highly artificial and entirely natural, a real triumph for all concerned. I had a couple of reservations about one of Horgan's monologues -- the writing, not the performing -- in that it felt a bit more like a newspaper column than a speech, but that apart I was grateful for the sheer quality of what I was watching. It's a relief to be treated as an adult.

What a great idea to document a time in our lives through fiction but in real time.

I laughed and cried throughout the whole thing. It showed so much of the everyday lives of all of living through this pandemic and touched on so many issues. Absolutely gorgeous acting and very funny. Would make a great play.