, who play a couple living in a remote Adirondacks lake house, and are tested after inviting the enigmatic Allison , a filmmaker and former actor, into their home.
The movie works on several levels. The first part plays like a viciously fun relationship comedy, Allison smirking through a long, dark, drunken night in which Abbott’s Gabe and Gadon’s Blair obsessively pick at each other.
That last point kicks off a discussion of men and women and work that goes on and on but never gets boring; Gabe reveals his fondness for traditional gender roles, Blair her disgust at that fact. Blair drinks more and more, despite being two months pregnant, and picks up on sexual attraction developing between Gabe and Allison. The writing is fizzy and delightful, the performances explosively committed. But I was most taken by Levine’s direction here.
You can’t take your eyes off it. One reason is that you know all is not as it appears. Or that something will, for lack of a better word,. It’d be too cruel to this movie’s intentions and successes to give much away, but the dynamics between Allison, Gabe, and Blair shift abruptly and dramatically, and some early scenes get broken apart or mirrored. Yet even as things get weird, they stay true.
Plaza is our guide through the madness, her characteristic wryness giving way to overpowering pain. We’re right there, so uncomfortably close to Allison, with every twist and turntakes, every shift from reality to nightmare and back again. She’s not the movie’s secret weapon, really, since her impact is so constantly visible.
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