The Meddler

Director
Lorene Scafaria
Runtime
1 h 40 min
Release Date
5 April 2016
Genres
Comedy, Drama
Overview
An aging widow from New York City follows her daughter to Los Angeles in hopes of starting a new life after her husband passes away.
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Debbie Schlussel 1
The New York Post



(Reviewers' Site/Bio)

  • Wknd Box Office: The Nice Guys, Neighbors 2: Sorority Rising, The Meddler, A Bigger Splash
    Blog Posts Movie Reviews A Bigger Splash – R: As a general rule, whenever mainstream (liberal) movie critics rave in unison over a movie, it’s absolute trash. That’s the case here . . . in spades. I like weird and different movies. And this is definitely that, but not in a good way. It’s too weird, too different, and just all over the place. It’s also sick and warped and never really admits to anything it implies is going on. On top of that, it seems obsessed with nudity and sex. There are lots of topless scenes for the women here, and both the male leads have frontal nudity scenes, too. Not my cup of tea. Plus, this stars the ever-weird, androgynous oddity of whom I’ve never ever been–and am definitely still not–a fan: actress Tilda Swinton who recently modeled in a Chanel fashion show in Havana (while the Castros are still locking up Cubans for speaking out against the horrors of that country). The scenery and cinematography are beautiful. The plot and story, not so much. The story: Swinton is an aging rock star with fans worldwide. She’s recently had surgery on her vocal cords and cannot talk until they heal. She and her much younger boyfriend of five years (Matthias Schoenaerts) are staying at her seaside estate on an Italian island while she recuperates. Swinton’s inability to talk (she can whisper, but hides it from all except her boyfriend) is a plot point. Soon, Swinton’s ex-lover, Ralph Fiennes, is on the island, too. He and his newly-discovered, young daughter (the constantly sullen, highly overrated Dakota Johnson) are there for a vacation and find that there are no hotel rooms left. Soon, they are staying with Swinton and her boytoy, and it’s an uncomfortable crowd. Fiennes spends the rest of the movie speaking loudly and flamboyantly and trying to seduce win back his ex, Swinton. His endless braggadocio and bloviating fill the void of Swinton’s silence. And then there is the issue of Fiennes’ daughter, who is highly “sexual” in her behavior and is often cavorting around in see-through bras. What is her story and is she hitting on Swinton’s boyfriend? What is it between them? I didn’t really care because none of the characters in this movie are likable. Not even close. There are two scenes with whip snakes, who invade the estate. And though you wonder what the relevance is, it seemed to me the snakes were more likable than the rest of the players in this flick. On top of that, this movie tries to be all things: a romantic drama, a thriller complete with a killing, and a relaxing travelogue of an Italian island with a mild plot going on in the midst. It fails at all three. I like ambiguity–of which this is filled–when it’s done well in a movie. Here, it’s underwhelming and overwhelming. And ill-fitted. I wasn’t sure what the point or purpose was of this pretentious, long, slow, boring, and seemingly endless movie . . . other than the purport to make high art (but fail miserably) and maybe show me Ralph Fiennes’ schlong (which I really didn’t need to see–TMI, TMI, TMI). I just know that I wasted two hours and five minutes of my life on it that I’ll never get back. The only splash here–bigger or otherwise–is the one you see and hear as you throw your ten-bucks-plus down the toilet. THREE MARXES ]]>
    ...
    (Review Source)

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