Greetings again from the darkness. This completes what I call the triumvirate of female film misery: Julianne Moore in Still Alice, Marion Cotillard in Two Days, One Night, and now Jennifer Aniston in Cake. Each film focuses on the physical and emotional struggles of a previously strong female character adjusting to life's cruel obstacles.
Claire (Ms. Aniston) is a former attorney in constant chronic pain who appears to be on a mission to make everyone around her as miserable as she is. The scars on her face make it obvious she has survived some trauma, and it's also clear that there is an additional emotional loss that is contributing to her situation. However, director Daniel Baraz (Beastly) and writer Patrick Tobin tease us for awhile with exactly what tragedy Claire is working through. Further proof of her lack of charm comes when her support group (led by Felicity Huffman) boots her out after an especially uncaring rant.
Claire takes a bizarre interest in researching the suicide of one of the group's members (Anna Kendrick). This leads to some uncomfortable interactions with the woman's husband (Sam Worthington) and their young son, and even more bizarre interactions – through dreams and hallucinations – with the Kendrick character (yes, the dead one). Claire's abusive persona comes through in these moments, just as it does with all other people who dare cross her path especially that of her caregiver Silvana (a wonderful Adriana Barraza, Babel).
Many have used the dreaded "snub" term to describe Aniston not receiving an Oscar nomination. My perspective is that she does a fine job in a role that is stunning in its variance from her typical fluffy rom-com roles. However, it is not a performance that I would favorable compare to Julianne Moore, Marion Cotillard or Felicity Jones. To see America's sweetheart go 90 minutes sans make-up and with unkempt hair is a welcome change, but the script contrivances and the choppiness of the presentation – a stream of big name actors make single scene appearances – do nothing to help the case for Aniston. In fact, I would still rate her work in The Good Girl as her best.
The trend of glam-downed actresses is welcome, though it's important to remember that a full-bodied script is still necessary for a quality movie. Other than the language, this one felt like it was more in line with a Lifetime movie. However, it does provide hope that Ms. Aniston will devote more time to dramatic roles and indie films.
Claire (Ms. Aniston) is a former attorney in constant chronic pain who appears to be on a mission to make everyone around her as miserable as she is. The scars on her face make it obvious she has survived some trauma, and it's also clear that there is an additional emotional loss that is contributing to her situation. However, director Daniel Baraz (Beastly) and writer Patrick Tobin tease us for awhile with exactly what tragedy Claire is working through. Further proof of her lack of charm comes when her support group (led by Felicity Huffman) boots her out after an especially uncaring rant.
Claire takes a bizarre interest in researching the suicide of one of the group's members (Anna Kendrick). This leads to some uncomfortable interactions with the woman's husband (Sam Worthington) and their young son, and even more bizarre interactions – through dreams and hallucinations – with the Kendrick character (yes, the dead one). Claire's abusive persona comes through in these moments, just as it does with all other people who dare cross her path especially that of her caregiver Silvana (a wonderful Adriana Barraza, Babel).
Many have used the dreaded "snub" term to describe Aniston not receiving an Oscar nomination. My perspective is that she does a fine job in a role that is stunning in its variance from her typical fluffy rom-com roles. However, it is not a performance that I would favorable compare to Julianne Moore, Marion Cotillard or Felicity Jones. To see America's sweetheart go 90 minutes sans make-up and with unkempt hair is a welcome change, but the script contrivances and the choppiness of the presentation – a stream of big name actors make single scene appearances – do nothing to help the case for Aniston. In fact, I would still rate her work in The Good Girl as her best.
The trend of glam-downed actresses is welcome, though it's important to remember that a full-bodied script is still necessary for a quality movie. Other than the language, this one felt like it was more in line with a Lifetime movie. However, it does provide hope that Ms. Aniston will devote more time to dramatic roles and indie films.