Wally Wolodarsky Archives

Review: ‘The Good House,’ starring Sigourney Weaver and Kevin Kline

December 28, 2022

by Carla Hay

Kevin Kline and Sigourney Weaver in “The Good House” (Photo by Michael Tompkins/Lionsgate and Roadside Attractions)

Directed by Maya Forbes and Wally Wolodarsky

Culture Representation: Taking place in the fictional town of Wendover, Massachusetts, the comedy/drama film “The Good House” features a predominantly white cast of characters (with a few Asians and African Americans) representing the working-class, middle-class and wealthy.

Culture Clash: A real-estate agent, who is an alcoholic with big financial problems, tries to salvage her business around the same time that she rekindles a romance with a former high-school classmate who is almost her complete opposite.

Culture Audience: “The Good House” will appeal primarily to people who are fans of Sigourney Weaver and movies about middle-aged people trying to improve their lives but sometimes stumble in the process.

Morena Baccarin and Sigourney Weaver in “The Good House” (Photo by Michael Tompkins/Lionsgate and Roadside Attractions)

“The Good House” is neither terrible nor outstanding but might be appealing to viewers who are interested in seeing emotionally authentic movies about middle-aged people dealing with personal problems. Sigourney Weaver’s feisty performance as an alcoholic real-estate agent is the main reason to watch this uneven dramedy. The movie’s storyline about seeking a redemptive comeback is handled better than the movie’s storyline about finding love.

Husband-and-wife filmmakers Maya Forbes and Wallace Wolodarsky directed “The Good House” and co-wrote the adapted screenplay with Thomas Bezucha. “The Good House” is based on Ann Leary’s 2013 book of the same name. After having its world premiere at the 2021 Toronto International Film Festival, “The Good House” screened at the 2022 Provincetown International Film Festival in Massachusetts and the 2022 Tribeca Film Festival in New York City.

“The Good House” is of those movies where the protagonist not only does voiceover narration but also looks at the camera to talk directly to viewers. If you have tolerance for this type of presentation in a movie that plays it safe overall with a talented group of cast members, then “The Good House” is worth watching. The dialogue is often sharp and witty, even though some of the plot developments are stale and predictable.

The protagonist of “The Good House” is outspoken and sassy Hildy Good (played by Weaver), who has lived in the fictional town of Wendover, Massachusetts, her entire life. As Hildy says proudly in a voiceover near the beginning of the movie: “My family has lived in Wendover for almost 300 years.” (“The Good House” was actually filmed in Nova Scotia, Canada.)

Hildy, who is divorced with two adult daughters, comes from a working-class background (her father was a butcher), but she became a successful real-estate agent. She is currently an independent realtor with her own small business called Good Realty, where she has one employee: a ditzy assistant named Kendall, who is taking a gap year before she goes to college. Hildy lives with two beloved female dogs: a Papillon and a Border Collie, which are her constant companions.

Most of Hildy’s clients are wealthy residents of Massachusetts’ North Shore. During a showing of a house to married potential buyers Lisa Sanderson (played by Holly Chou) and Rob Sanderson (played by Anthony Estrella), Hildy comments, “We will find you the right house. Buying a house that is out of reach is a recipe for misery.”

Hildy then turns to the camera and says, “I should know. I bought a house I could almost afford. And if everything had gone according to plan, I’d be fine.” Hildy also describes herself as a self-made woman who “worked her way through UMass [the University of Massachusetts], and I’m the top broker on the North Shore. Or at least I was until …”

Lately, Hildy has been dealing with some major setbacks that have negatively affected her business. For starters, she’s an alcoholic who is in deep denial about needing treatment for this disease. Secondly, she’s getting stiff competition from realtor Wendy Heatherton (played by Kathryn Erbe), who used to work for Hildy, “before raiding my Rolodex and stealing all of my clients,” according to Hildy. Third, Hildy has increasing debts, due to not being to make as much money as she used to make, in addition to helping out her adult daughters financially and paying alimony to her ex-husband.

Hildy’s elder daughter Tess (played by Rebecca Henderson) lives In Beverly, Massachusetts, with her husband Michael (played by Sebastien Labelle) and their toddler daughter Lottie. Hildy’s younger daughter Emily (played by Molly Brown) is a bachelorette and an artist who lives in Brooklyn, New York, and has a roommate, but Emily gets help from Hildy to pay the rent and other bills. Hildy is hiding her money problems and thinks this is what can put her back on the right financial track: “I need a good year.”

Hildy believes that she’s found some of this financial windfall in a potential sale of a waterfront property owned by Frank Getchell (played by Kevin Kline), who has had the property in his family for years, but he doesn’t want to sell it. He owns a successful maintenance company called Frank Getchell Contracting. Frank, who is a never-married bachelor with no children, has more than enough money to lead a flashy lifestyle, but he lives modestly and is somewhat of a misfit loner in the community.

When Hildy tells Frank that a lawyer from Boston is interested in buying Frank’s waterfront property, Frank rejects the idea of selling it. Hildy tries to get Frank to change his mind by saying: “You’re a businessman, Frank. Don’t you want to make money?” Frank replies, “Not as much as you do. The butcher’s daughter has gone fancy pants.”

Frank and Hildy have a past together: Frank was Hildy’s first love, and they had a short-lived romance during the summer before she went away to college. The relationship didn’t last because their lives went in two different directions: Frank joined the U.S. Army, while Hildy went to the University of Massachusetts. Hildy ended up marrying an affluent college classmate named Scott Good (the father of Tess and Emily), “who introduced me to high thread-count linens and fine wine. I do miss sailing,” Hildy says.

After 20 years of marriage, Scott left Hildy for another man, which is why they got divorced. Hildy is still bitter about this rejection, but it’s later revealed that her divorce isn’t the real reason why she became an alcoholic. Scott (played by David Rasche) is on cordial terms with Hildy, and they sometimes socialize with each other at mutual friends’ events.

Unfortunately, the trailer for “The Good House” already reveals about 70% of the movie’s plot, including Frank and Hildy rekindling their romance. What the trailer doesn’t reveal is a soap opera-type subplot involving two married couples who know Hildy, who finds out a scandalous secret that could affect these couples’ marriages. (The secret is the most obvious one possible.)

The first couple at the center of a potential scandal are Rebecca McAllister (played by Morena Baccarin) and Brian McCallister (played by Kelly AuCoin), who is a workaholic businessman. The other spouses are psychiatrist Peter Newbold (played by Rob Delaney) and Elise Newbold (played by Laurie Hanley), who live in Cambridge, Massachusetts. Hildy has known Peter since he was a child. Hildy and her close friend Mamie Lang (played by Beverly D’Angelo) used to babysit Peter when Peter was about 8 years old.

Rebecca is a homemaker who is friendly but has some emotional issues. In an early scene in the movie, when Hildy is showing the Sandersons a house near Rebecca’s home, Hildy is somewhat horrified to see Rebecca gardening in the front yard while wearing a white nightgown and construction shoes. Hildy discreetly says to Hildy, “It’s chilly outside, dear. Do me a favor. Put on a sweater and a hat and some leggings.” Rebecca laughs and replies, “Yes. Sometimes, I get carried away, and I don’t think things through.”

Rebecca’s husband Brian is away from home a lot because of work. And so, a lonely Rebecca befriends Hildy. They end up confiding in each other about a lot of things about their personal lives. Hildy also becomes acquainted with a married couple named Cassie Dwight (played by Georgia Lyman) and Patch Dwight (played by Jimmy LeBlanc), whose 5-year-old son Jake (played by Silas Pereira-Olson) is living with autism.

Even though Hildy lives alone, she has a fairly active social life, which usually includes going to dinner parties. At one of these parties, Hildy divulges that she’s the descendant of Sarah Good, one of the first accused witches of Salem, Massachusetts. And then, Hildy does a psychic reading at the party while the movie’s soundtrack plays Donavan’s “Season of the Witch.”

“The Good House” has scenes that sometimes awkwardly balance the comedy and the drama. This clumsiness is demonstrated the most in how the movie presents Hildy’s alcoholism, which is sometimes reduced to soundbites where she talks to the camera about it with glib jokes. The movie then uses cheap gimmicks such as hallucinations or Hildy stopping in the middle of a conversation to tell “The Good House” viewers what she’s really thinking by saying it out loud.

In one such scene, Hildy is drinking alcohol when she’s alone in her house. She quips, “I never drank alone—before rehab. Scott always said I should stop after my third drink.” Hildy then hallucinates her ex-husband Scott appearing before her to add, “That’s when you start to get out of control.” Hildy says in response, “What are you talking about? That’s when I start to feel in control.”

The trailer for “The Good House” already revealed that Hildy’s loved ones stage an intervention, in an attempt to get her to go to rehab. It’s just another scene where Hildy comes up with one-liners to continue being in denial about how serious her alcoholism is. It’s hinted at but never told in detail that Hildy’s alcoholism has alienated many of her former clients and has given Hildy a reputation for being erratic. Hildy eventually opens up to someone about some painful things from her childhood, but that’s as far as the movie goes in exploring Hildy’s psychology.

Mostly, Hildy is presented as someone who is trying to fool people into thinking that she has her whole life together when her life is actually falling apart. She doesn’t fool Frank though. It’s one of the reasons why their relationship is easy to root for, because he sees her for who she really is and loves her despite her flaws. It’s a case of “opposites attract” because Hildy likes to put on airs to impress people, while Frank is completely down-to-earth.

One of the shortcomings of “The Good House” is that instead of focusing more on the relationship between Hildy and Frank, the movie tends to get distracted by the messy and melodramatic subplot involving Rebecca, Brian, Peter and Elise. Throughout the movie, Hildy has some drunken antics, with a few of these shenanigans having consequences that might serve as a wake-up call for Hildy to get professional help for her problems.

Weaver doesn’t disappoint in giving a very watchable performance of this emotionally damaged character. The supporting cast members are also up to the task in playing their roles. However, Hildy’s often-prickly personality is written in the movie as overshadowing all the other characters. Sometimes this character dominance is a benefit to “The Good House,” and sometimes it’s a detriment. “The Good House” doesn’t always succeed in having a consistent tone, but the story has enough realistic portrayals of adult relationships to make it an appealing story to viewers who are inclined to watch these types of movies.

Lionsgate and Roadside Attractions released “The Good House” in select U.S. cinemas on September 30, 2022. The movie was released on digital and VOD on October 18, 2022. “The Good House” was released on Blu-ray and DVD on November 22, 2022.

Review: ‘The French Dispatch,’ starring Bill Murray, Tilda Swinton, Owen Wilson, Benicio del Toro, Léa Seydoux, Frances McDormand, Timothée Chalamet and Jeffrey Wright

October 22, 2021

by Carla Hay

“The French Dispatch”

Directed by Wes Anderson

Some language in French with subtitles

Culture Representation: Taking place in the fictional city of Ennui-sur-Blasé, France, the comedy film “The French Dispatch” features predominantly white cast of characters (with a few black people, Latinos and Asians) representing the working-class, middle-class and wealthy.

Culture Clash: After the American editor of The French Dispatch magazine dies, his staffers gather to put together the magazine’s final issues, with four stories coming to life in the movie.

Culture Audience: “The French Dispatch” will appeal primarily to people who are fans of filmmaker Wes Anderson and of arthouse movies that have well-known actors doing quirky comedy.

Lyna Khoudri, Frances McDormand and Timothée Chalamet in “The French Dispatch” (Photo courtesy of Searchlight Pictures)

At times, “The French Dispatch” seems like an overstuffed clown car where filmmaker Wes Anderson tried to fit in as many famous actors as possible in this movie. This star-studded cast elevates the material, which is good but not outstanding. Anderson’s style of filmmaking is an acquired taste that isn’t meant to be for all moviegoers. He fills his movies with retro-looking set designs, vibrant cinematography and snappy dialogue from eccentric characters. “The French Dispatch,” written and directed by Anderson, takes an anthology approach that doesn’t always work well, but the fascinating parts make up for the parts that are downright boring.

The movie revolves around a fictional magazine called The French Dispatch of the Liberty, Kansas Evening Sun (also known as The French Dispatch), which is a widely circulated American magazine based in the fictional city of Ennui-sur-Blasé, France. The French Dispatch was founded in 1925. The movie opens in 1975, when the French Dispatch editor/owner Arthur Howitzer Jr. (played by Bill Murray), an American originally from Kansas, has died in the magazine’s offices. The employees have gathered to work on his obituary and reminisce about him and the magazine’s history.

Arthur appears in flashbacks throughout the movie. In one of the flashbacks, Arthur has told his top-ranking staffers that he has put a clause in his will which requires that The French Dispatch will stop publishing after he dies. The staffers are melancholy and a bit disturbed when they hear about this decision. Arthur is loved and respected by his employees, so they oblige his request. Therefore, they know that the French Dispatch issue that will have Arthur’s obituary will also be the magazine’s final issue.

The French Dispatch is a magazine that is known for its collection of stories. In “The French Dispatch” movie, four of these stories come to life and are told in anthology form, with each story told by someone from the magazine’s staff. Some scenes are in color, and other scenes in black and white. Anderson says in the movie’s production notes that The French Dispatch was inspired by his love for The New Yorker magazine. That’s all you need to know to predict if you think this movie will be delightful or pretentious.

The French Dispatch staffers are mostly Americans. They including copy editor Alumna (played by Elisabeth Moss), cartoonist Hermès Jones (played by Jason Schwartzman), an unnamed story editor (played by Fisher Stevens), an unnamed legal advisor (played by Griffin Dunne), an unnamed proofreader (Anjelica Bette Fellini) and an unnamed writer (played by Wally Wolodarsky). All of these aforementioned staffers don’t have in-depth personalities as much as they have the type of quirky reaction conversations and stagy facial expressions that people have come to expect from characters in a Wes Anderson movie. A running joke in “The French Dispatch” is how obsessive Alumna and proofreader are about things such as comma placement.

The staffers who get more screen time and more insight into their personalities are the four staffers who tell their stories. The first story is told in travelogue form by Herbsaint Sazerac (played by Owen Wilson), whose title is cycling reporter. Herbsaint travels by bicycle to various parts of the city. He has a penchant for going to the seedier neighborhoods to report what’s going on there and the history of how certain locations have changed over the years. During his travels, he visits three other French Dispatch writers who tell their stories. They are J.K.L. Berensen (played by Tilda Swinton), who is the magazine’s flamboyant art critic; Lucinda Krementz (played by Frances McDormand), a secretive essayist who likes to work alone; and Roebuck Wright (played by Jeffrey Wright), a lonely and brilliant writer with a typographic memory.

J.K.L.’s story is “The Concrete Masterpiece,” which is about the how a “criminally insane” painter named Moses Rosenthaler (played by Benicio del Toro as a middle-aged man and by Tony Revolori as a young man) is discovered and exploited while Moses is in prison for murder. One of the paintings that first gets attention for Moses is a nude portrait of a prison guard named Simone (played by Léa Seydoux), who is his muse and his lover. Moses has a makeshift art studio in prison for these intimate painting sessions, which he is able to do because Simone gives him a lot of leeway and protection from being punished.

An unscrupulous art dealer named Julian Cadazio (played by Adrien Brody), along with his equally corrupt and greedy uncles Nick (played by Bob Balaban) and Joe (played by Henry Winkler), find out about Moses’ talent and are eager to make huge profits off of Moses’ work. These art vultures figure that they can take advantage of Moses because he’s in prison. Julian, Nick and Joe get a tizzy over how much money they can make off of Moses, who is a mercurial and unpredictable artist. Imagine these art dealers’ panic when Moses decides he’s going to stop painting until he feels like painting again. There’s also a Kansas art collector named Upshur “Maw” Clampette (played by Lois Smith) who comes into the mix as a potential buyer.

“The Concrete Masterpiece” is the movie’s highlight because it adeptly weaves the absurd with harsh realism. Swinton is a hilarious standout in her scenes, because J.K.L. is quite the raconteur. She delivers her story as a speaking engagement in front of an auditorium filled with unnamed art people. It’s like a pompous lecture and bawdy stand-up comedy routine rolled into one. You almost wish that Anderson would make an entire movie about J.K.L. Berensen.

Lucinda’s story is “Revisions to a Manifesto,” which chronicles a youthful uprising in the French town of Ennui, when young people stage a labor strike that shuts down the entire country. At the center of this youthful rebellion are two lovers named Zeffirelli (played by Timothée Chalamet) and Juliette (played by Lyna Khoudri). Zefferelli (a college student) is the sensitive and romantic one in this relationship, while Juliette has a tendency to be aloof and no-nonsense. Although “Revisions to a Manifesto” has some visually compelling scenes depicting the strikes and protests, the overall tone of this story falls a little flat. Chalamet’s performance is very affected, while McDormand is doing what she usually does when she portrays a repressed character.

Roebuck’s story “The Private Dining Room of the Police Commissioner,” which is a tale of kidnapping and other criminal activities. The story starts off being about a famous chef named Nescaffier (played by Stephen Park), who is hired to serve Ennui-sur-Blasé’s police commissioner (played by Mathieu Amalric), who is just named The Commissaire in the story. But then, the story becomes about The Comissaire’s son/crime-solving protégé Gigi (played by Winsen Ait Hellal), who gets kidnapped by some thugs, led by someone named The Chauffeur (played by Edward Norton). The kidnappers say that Gigi will be murdered unless a recently arrested accountant named Albert (played by Willem Dafoe), nicknamed The Abacus, is set free from jail.

“The Private Dining Room of the Police Commissioner” ends up being too convoluted and somewhat sloppily executed. Liev Schreiber has a small role as a Dick Cavett-type TV talk show host who interviews Roebuck on the show. There’s some whimsical animation in this part of the movie. But ultimately, “The Private Dining Room of the Police Commissioner” is a story about a lot of people running around and making threats with no real sense of danger.

Although it’s admirable that Anderson was able to attract so many famous actors in this movie, after a while it seems like stunt casting that can become distracting. Viewers who watch “The French Dispatch” will wonder which famous person is going to show up next. Some well-known actors who make cameos in “The French Dispatch” include Christoph Waltz, Saoirse Ronan and Rupert Friend. Anjelica Huston is the movie’s voiceover narrator.

“The French Dispatch” can almost become a game of Spot the Celebrities, since there are so many of them in this movie. That being said, there isn’t a bad performance in the bunch. However, the movie would’ve benefited from taking a chance on casting lesser-known but talented actors in some of the prominent speaking roles, in order to make the film a more immersive viewing experience instead of it coming across as an all-star parade.

Despite its flaws, there’s no doubt that “The French Dispatch” is a highly creative film that has Anderson’s unique vision and artistic flair. He has a love of language and a knack for keeping viewers guessing on what will happen next in his movies. And these bold risks in filmmaking are better than not taking any risks at all.

Searchlight Pictures released “The French Dispatch” in U.S. cinemas on October 22, 2021.