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Source:
rec.art.movies.reviews newsgroup
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Saddled with a difficult title to either remember or connect with, this is an unusually accomplished, often comedic family drama that's richly touching without being sentimental.
Middle-aged suburban wife and mother Terry Wolfmeyer (Joan Allen) is furious when her husband mysteriously disappears, apparently taking off with his young Swedish secretary, leaving her to raise their four daughters in his absence. "Anger has turned my mother into a sad and bitter woman," observes her youngest as the story begins. Indeed, Terry dives deep into the bottle and when a persistent neighbor Denny (Kevin Costner), a scruffy, once-great baseball star-turned-radio DJ, offers to become her drinking buddy, an unconventional relationship develops.
Much to his surprise, Denny enjoys the "very female" company of Terry's confrontational daughters (Erika Christensen, Evan Rachel Wood, Keri Russell, Alicia Witt), each with her own heartfelt angst, who come to realize, "The only upside to anger is the person you become."
Written and directed by actor/director Mike Binder (HBO's "The Mind of a Married Man"), it's a skillfully developed scenario about assumptions, repression and compassion. Joan Allen ("The Contender") delivers a contradictory, resoundingly truthful, tour-de-force performance, one that, hopefully, will be remembered for next year's Oscar nominations. More amiable and relaxed than ever before, Kevin Costner keys into his sexy, sensitive side, while recalling previous turns in "Bull Durham" and "Field of Dreams." And the quartet of young actresses acquit themselves admirably. On the Granger Movie Gauge of 1 to 10, "The Upside of Anger" is a poignant, bittersweet 8. It's an exquisitely evocative movie that packs an emotional wallop.
By : Susan Granger
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Source:
rec.art.movies.reviews newsgroup
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Though Joan Allen in the role of an angry mother, Terry Wolfmeyer, states at one point in Mike Binder's movie that one of her four daughters hates her and two or three others are leaning in that direction, she is the sort of person that any young man or young woman would be proud to call mom. She has a ballerina's body, slim and lithe; she's smart, and she's funny. Aren't those the principal qualities that people look for in a mate, much less a parent? What's especially poignant about writer- director Mike Binder's film–one in which Binder himself performs in the role of an important supporting player–is the way Allen's temperament changes so suddenly from that of a raging volcano to one that's lovable. She has a few reasons to be irritated to the point of climbing the walls, the major one being that her husband has apparently left her and taken off to live in Sweden with his Scandinavian assistant. Needless to say, the absence of a man who has given her four headstrong daughters and who has not had even the decency to call, write or email, could be the source of a permanent stage of rage.
There are other reasons for Terry's anger–and her joys as well–in fact in many ways the same events appear to trigger both emotions. One is that her next-door neighbor, Denny Davies (Kevin Costner), is perpetually in her beautiful, suburban Detroit home, even taking the liberty of hanging out in her bathroom surreptitiously while she's taking a shower. Her affection for this man, who had retired from his job as a major league baseball player and who is now a radio D.J. who wants to talk about everything but the game, is obvious. In fact when she occasionally waves her arms and looks to the ceiling in apparent frustration, we can sense the grin beneath the anxiety.
"The Upside of Anger" is told in a conventional manner save for the initial flashback (an angry Terry) to events that occurred during the past three years. Photographer Richard Greatrex at times changes the color of the lens according to Terry's mood: when he gives free play to what's in his camera, the pictures representing suburban Detroit are luscious–the turning of the autumn leaves, the flurries of snow, the general feel of a wealthy American community living not far from the Canadian border.
This is an ensemble piece, one which displays Mike Binder's ability to write women's roles so strongly that if the associations giving awards between next December and March can easily recall the movie, this could be considered for both best ensemble acting and a stellar performance from Ms. Allen.
Terry (Joan Allen) leads an idyllic existence in this Detroit suburb with four daughters, but her utopia turns to dysfunction when her husband leaves her–and stays away for the three years embraced by the tale. Her daughters, ages ranging from eighteen or so to twenty-two, have their own ideas of the way to lead their lives. The oldest, Hadley (Alicia Witt), is about to graduate from college and get married to the man who got her pregnant. "Popeye" (Even Rachel Wood), the youngest, has been hitting on a young man, a bungee jumper, in her high school with limited success since he wants only to be her friend.
Andrea, or Andy (Erika Christensen) frustrates her mom further by insisting that she is not going to go to college but will instead work with a radio producer, Shep (Mike Binder), with whom she develops a relationship that drives Terry up the wall.
Denny Davies (Kevin Costner) serves as the catalyst that turns the lives of the five around. The daughters become accustomed to his presence for dinner at their home. Terry develops a quirky relationship with the D.J., who evidently has his eyes set on the volatile woman now that her husband is out of the picture. While the young women seek to further Denny's relationship with their mom, they are at the same time trying to make sense of the young men in their own lives.
While Binder's writing is sharp and while the concluding twist may knock off many an audience sock, without Joan Allen in the movie this would be a lesser film. Nominated three times for an Oscar, she appears to be lining up her fourth in a role that has her covering the spectrum of emotions from A to Z.
By : Harvey S. Karten
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