ClassificationLike an exhausted artist facing a blank canvas, or an underwhelmed film critic staring at a blank screen,doesn’t have much to say but tosses something on the screen regardless, hoping it will stick. Perhaps nobly conceived as a portrait of the support network that props up society’s most creative minds, director Tom Dolby’s character study assembles a potentially interesting germ of an idea and a tremendous amount of talent and then does ... almost absolutely nothing.
At the onset, the marriage between acclaimed abstract painter Richard and his loving wife Claire seems rock-solid. He is irascible, but brilliant. She is encouraging, but firm. But pull things apart just a seam, and throw in an Alzheimer’s diagnosis for Richard, and the couple’s carefully curated life falls apart, with Claire in particular thrown into a past-mid-life crisis.
Olin and Dern do their best, though, even though the latter is mostly rehashing his grumpy-old-man shtick from Alexander Payne’sThe Unbearable Lightness of Being“Why do we paint?” Richard asks mid-film. “We paint because we have no choice.” I’m sure Dolby had a choice as to whether or not film, though I cannot for the life of me decide why going forward was the only option.Plan your screen time with the weekly What to Watch newsletter.
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