Men, Women & Children – LFF Review

Men, Women & Children

Jason Reitman’s directorial career was going so well. His first four films from Thank You for Smoking to Young Adult were each remarkable in their own way and it seemed that he could not put a foot wrong. And then he did. Earlier this year saw the release of Labor Day; an out of character romantic drama that showed Reitman trying something a little different and failing in the process. This year he returned to the London Film Festival with a new contemporary family drama Men, Women & Children. The question this film had to answer was, has Jason Reitman got his groove back?

In Men, Women & Children men, women, and children (I’m for the Oxford comma) find their personal relationships sabotaged by an over reliance on technology. Jennifer Garner* is a neurotic mother who monitors her daughter’s every move online, even going so far as to delete messages before they reach her. Her daughter Kaitlyn Dever feels oppressed and uses a secret Tumblr account as her only outlet while starting a sweet offline romance with Ansel Elgort. Ansel has abandoned the school football team in favour of playing online computer games after his mother abandoned him and his dad, Dean Norris, and became more a Facebook friend than a parent. When not worrying about his son Dean is flirting with Judy Greer who manages a questionable modelling website for her celebrity-in-waiting daughter, Olivia Crocicchia. Olivia meanwhile is sexting high school jock Travis Tope who is struggling to find real sex appealing having become addicted to a particular strand of porn. Travis’ parents Adam Sandler and Rosemarie DeWitt are failing to connect and so are contemplating exploring online escorts and extramarital affair sites respectively. If that weren’t nearly enough we also have Elena Kampouris who visits thinspiration websites and suffers from anorexia and low self-esteem but she doesn’t fit as neatly into the chain of relationships as everyone else.

Men, Women & Children 2

As you can tell from the above there is a lot going on in Men, Women & Children and every storyline involves someone’s life being worse off thanks to the internet. An ensemble drama can work but only when dealt with carefully. In this case the fact that a small group of interlinked individuals are all experiencing some form of cyber woe makes the whole exercise feel inauthentic and implausible. Now might well be the prime time for a film exploring the internet’s effects on human relationships but this heavy-handed attempt at highlighting the possible dangers online is not that film. Jason Reitman wants you to reflect on how you are damaging your own relationships and he will beat you round the head with an iPad until you do. Few films are this preachy and condescending which, having now sat through this public service announcement of a film, is a great relief.

There are moments of charm and humour but they are lost in amongst the endless scenes of characters making bad choices because their modems made them do it. Men, Women & Children is not about the real world or real people. It is Reefer Madness for the internet age and is every bit as overblown and undercooked. In an attempt to add levity to proceedings Reitman has added narration courtesy of Emma Thompson in the hopes that her accent describing sex acts will be enough to soften the rough edges of this melodramatic catastrophe. Sadly even Thompson’s authoritative voice can’t distract from the mess Reitman has made.

No character is given enough screen time to become fully rounded and nearly everyone involved at some point does something so utterly stupid and unrelatable that the audience is left floundering looking for someone to relate to. The minute you think you have found your cypher to guide you through Men, Women & Children they will do something unforgivable or seemingly without motive. The film is unlikely to stop anyone from going online but may well turn people away from going to the cinema again.

Men, Women & Children is misogynist, paranoid, and pretentious. Jason Reitman can do so much better.

*There are too many characters for me to have remembered any names.

Men, Women & Children has a UK release date of 28th November 2014.

BFI LFF 2014

Short Term 12 – LFF Film Review

Short Term 12

As a cynical Brit I struggle to enjoy any film that tries too hard to tug at my heartstrings or seems to be shoving an important message down my throat. Films that purport to be realistic dramas but have the damaged individual fixed by the time the credits roll are a huge turn off for me. When Short Term 12 began I was quite concerned that this film about a foster care facility and its young staff would turn out to be precisely this overly earnest type of film.

Thankfully I was wrong.

Short Term 12 features a large ensemble cast of characters encompassing both children in foster care and the supervising staff of their care home. In the film we see a glimpse into the lives of those in care and how the staff deal with the issues that arise and try to give children in troubling situations as stable a childhood as they can before their fate is decided. The heart of the film is Grace (Brie Larson) a staff member at the home who has endless patience for the children under her care but much less patience for the parents who have let them down and the bureaucratic system they are all involved in.

Brie Larson is in that increasingly long list of actors who have been waiting for years for their one big breakout film. Larson has put in solid work in small roles on the big screen (Scott Pilgrim vs. the World and 21 Jump Street to name a couple) and larger roles on the small screen (Raising Dad and United States of Tara) and has been a working actor for most of her life without necessarily getting a role that would act as her calling card. Finally with Short Term 12 I think Brie Larson has found it.

Grace is not just a strong figure in the lives of the kids she cares for but has her own less than perfect past to deal with that is affecting her present day personal life. It is the texture provided to her character that makes Grace a palatable person to have at the centre of such a sincere film and it is a career defining performance from Larson that really sells this character to the audience.

Short Term 12 is an effecting story with many threads as we meet a variety of damaged and lost children each with their own tale to tell. Some are explored in more detail than others and not every thread is tied up neatly by the film’s close. The film feels like a brief visitation to a difficult place where good people are trying their best to help others and there is a real sense of the story continuing long after we have pulled away out of the home that lends everything a layer of authenticity and believability.

Funnier than you might expect with a whole lot of heart Short Term 12 only occasionally contained too much sincerity for my cynicism to handle. Superb performances by Larson and the rest of the cast too numerous to list here the film is held together by understated direction and naturalistic dialogue from Destin Cretton.

Short Term 12 screens at the festival on the 19th October and is in UK cinemas on 1st November 2013.

BFI London Film Festival 2013