Another independent filmmaking exercise in gloomy dysfunction, the actors are all top-notch and it’s their individual work that keeps us watching, even though we’re never entirely convinced any of the lead characters are worth caring about which—while it normally wouldn’t be a problem as cinema always offers its fair share of flawed heroes and surprisingly humane villains—in this film, it makes the final impact seem less provocative than the director had hoped.
As the primary caregiver to her toddler daughter, Beckinsale’s Annie works as a waitress in a Chinese restaurant opposite Arthur, whom she used to babysit when he was younger (which leads to some odd, flirtatious conversations as we realize the extent of Arthur’s previous crush on his old babysitter). However, while Arthur soon begins to fall for the geeky yet earnest new girl in school, Lila, Annie’s romantic life is far more unconventional as we discover her meeting the husband of her best friend and coworker Barb (Amy Sedaris) in a sleazy motel for frequent illicit trysts as one of the many items on her to-do list alongside shopping for her elderly mother.
While extramarital affairs always seem to end badly, Annie’s seems destined to explode by way of the match in Snow Angels, who is introduced fairly early on when we become acquainted with Rockwell’s Glenn. A recovering alcoholic turned ultra-devout born-again Christian, the mentally unstable Glenn who is temporarily residing with his parents, repeatedly tries to get back together with his ex, from taking his daughter for the day to arriving at Annie’s unexpectedly. When he grows increasingly obsessive and also learns of her affair, we sense that it’s only a matter of time before all of their lives intersect in a devastating showdown yet I wasn’t expecting the utter level of hellishly disturbing depression the film had in store for the audience as it kicks us hard roughly one hour in before careening towards its inevitable yet nonetheless, overwhelmingly bleak ending that puts us down for the count.
Recently released on a DVD formatted so that viewers can choose to watch it in either its original theatrical widescreen version or the television-formatted fullscreen along with various language options, it's the type of film that should come complete with a pre-approved prescription for the strongest anti-depressant on the market since essentially it is Sophie’s Choice meets In the Bedroom. Breathtakingly photographed by Tim Orr, most notably in a final scene involving the marching band as snow begins to fall, the film is saved by its actors. This is especially due to the fearless nature of Sam Rockwell who is no stranger to taking on the most awful roles imaginable and offering a surprising level of humanity to each. Yet in the end-- other than mere pity for what had happened-- I couldn’t bring myself to become that emotionally involved with such a self-involved female protagonist as the one penned for the otherwise talented Beckinsale.
Article comments