Written by: Kevin Berge
Subtle Adam Sandler, he's a rare treat we all should appreciate. (Image Courtesy of: slashfilm.com)
Quick Take: The Meyerowitz Stories (New and Selected) comes off as a keenly written novel that uses its film trappings to layer its current of dialogue. An emotionally charged but soft dramatic film, this is a story of upbringing and family dysfunction driven by great performances from its leads that is not all that rewatchable but a strong one-time experience.
***This is a spoiler-free review and will not contain details beyond the basic set-up for each character in the story. However, it will heavily talk about the themes of the film which may be better experienced first before reading ahead. Those who have not watched the movie should read ahead at their own risk.***
We are what our family makes us. This is the dominant mantra of The Meyerowitz Stories which explores a few days in the life of an estranged family reunited. Danny (Adam Sandler), Matthew (Ben Stiller), and Jean (Elizabeth Marvel) are brought together by their father Harold (Dustin Hoffman) and stepmother Maureen (Emma Thompson).
The reunion serves as a reminder of all the trauma they have endured that led to where they are now. The trauma is largely minor, but it is clear just how far it sunk into who they are as people. Each of them is tied to their father's creative legacy and the way he raised them.
Harold has created a legacy of expected creativity, promoting his own work as genius that he wants others to live up to even as he looks back at how little his own work has been recognized. As a respected but underappreciated artist, his legacy is held in question even keeping him on edge.
Danny is the only creative child, but he is also the least appreciated. A stay-at-home dad now sending his daughter Eliza (Grace Van Patten) to college for film study while he divorces his wife, he feels lost and empty, and his father relies upon him without encouraging or supporting him.
Matthew is successful and wealthy, but he is looked down for it by his family who associate his affluence with snobbishness. He is his father's favorite son, but he lacks any creativity which manifests in a loneliness he cannot combat as he is left feeling more isolated than even his family sees him to be.
Jean is the forgotten child who always returns to her father's side even as she harbors the worst traumas. Danny and Matthew try to stand up for her, but they just do not seem to quite understand her. She is neither successful nor creative, but she enjoys what she can get.
We are what our family makes us. This is the dominant mantra of The Meyerowitz Stories which explores a few days in the life of an estranged family reunited. Danny (Adam Sandler), Matthew (Ben Stiller), and Jean (Elizabeth Marvel) are brought together by their father Harold (Dustin Hoffman) and stepmother Maureen (Emma Thompson).
The reunion serves as a reminder of all the trauma they have endured that led to where they are now. The trauma is largely minor, but it is clear just how far it sunk into who they are as people. Each of them is tied to their father's creative legacy and the way he raised them.
Harold has created a legacy of expected creativity, promoting his own work as genius that he wants others to live up to even as he looks back at how little his own work has been recognized. As a respected but underappreciated artist, his legacy is held in question even keeping him on edge.
Danny is the only creative child, but he is also the least appreciated. A stay-at-home dad now sending his daughter Eliza (Grace Van Patten) to college for film study while he divorces his wife, he feels lost and empty, and his father relies upon him without encouraging or supporting him.
Matthew is successful and wealthy, but he is looked down for it by his family who associate his affluence with snobbishness. He is his father's favorite son, but he lacks any creativity which manifests in a loneliness he cannot combat as he is left feeling more isolated than even his family sees him to be.
Jean is the forgotten child who always returns to her father's side even as she harbors the worst traumas. Danny and Matthew try to stand up for her, but they just do not seem to quite understand her. She is neither successful nor creative, but she enjoys what she can get.
You don't know what you're in for with this movie until you see Eliza's art pieces. (Image Courtesy of: newsweek.com)
Maureen has no relation to any of Harold's children as she is his fourth wife. She never even once wanted children, yet she must play the role of mother late in the life of these damaged adults. She feels separated from the family by her late arrival and pushes away many of the signs of Harold's life before her.
Director and screenwriter Noah Baumbach (The Squid and the Whale) has been riffing on the ideas in this movie for a while, but this might be the best he's done with the concept with a gripping and intelligent script that is often telling at least two stories at once with its overlapping dialogue.
Given the distinctive roles and voices of these characters, it is impressive how much each is clearly and distinctly defined by their interactions with one another. Baumbach writes dialogue like I've never heard dialogue written because it sounds genuine particularly in how confused and conflicting it comes off.
Baumbach also brings the most out of his talented cast especially Adam Sandler (The Wedding Singer). I cannot say I have seen much of Sandler's work (I tend to avoid them given the scathing reviews), but this is absolutely the best I have seen him. The film utilizes his odd gait and tendency toward shouting to frame his character's suppressed emotion, and Sandler masterfully plays up Danny's depressed energy.
Ben Stiller (The Secret Life of Walter Mitty) has played roles similar to this to success in the past, but he is great here particularly as his feelings bubble to the surface. This is also one of the best performances I have seen from Dustin Hoffman (Rain Man) in a decade who makes Harold's frantic need for praise just likeable enough to pity.
This is a meditation on family and dysfunction that is a bit slow at times and has such subtle humor it can fly right by often. Still, it is hard not to appreciate just how subtle it can be. It is a lingering piece that would likely mean more on rewatches.
I don't know though that it is compelling enough to pull me to rewatch. I enjoyed the experience of the film enough and certainly appreciated its fundamental elements, but this is so contemplative that it does not pull too hard even as it pushes the emotional tone. It was a great one-time watch.
Director and screenwriter Noah Baumbach (The Squid and the Whale) has been riffing on the ideas in this movie for a while, but this might be the best he's done with the concept with a gripping and intelligent script that is often telling at least two stories at once with its overlapping dialogue.
Given the distinctive roles and voices of these characters, it is impressive how much each is clearly and distinctly defined by their interactions with one another. Baumbach writes dialogue like I've never heard dialogue written because it sounds genuine particularly in how confused and conflicting it comes off.
Baumbach also brings the most out of his talented cast especially Adam Sandler (The Wedding Singer). I cannot say I have seen much of Sandler's work (I tend to avoid them given the scathing reviews), but this is absolutely the best I have seen him. The film utilizes his odd gait and tendency toward shouting to frame his character's suppressed emotion, and Sandler masterfully plays up Danny's depressed energy.
Ben Stiller (The Secret Life of Walter Mitty) has played roles similar to this to success in the past, but he is great here particularly as his feelings bubble to the surface. This is also one of the best performances I have seen from Dustin Hoffman (Rain Man) in a decade who makes Harold's frantic need for praise just likeable enough to pity.
This is a meditation on family and dysfunction that is a bit slow at times and has such subtle humor it can fly right by often. Still, it is hard not to appreciate just how subtle it can be. It is a lingering piece that would likely mean more on rewatches.
I don't know though that it is compelling enough to pull me to rewatch. I enjoyed the experience of the film enough and certainly appreciated its fundamental elements, but this is so contemplative that it does not pull too hard even as it pushes the emotional tone. It was a great one-time watch.
