| Roadside Attractions | Release Date: November 18, 2016 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
52
Mixed:
1
Negative:
0
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Critic Reviews
Opening a window into a wounded soul, it reminds us that beneath even the most brusque, hard-to-approach exterior often lies a human being bearing the scars of real, sometimes devastating human experiences. Also like "Moonlight," it is one of the best films of 2016, and one not to be missed.
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One of the things that is admirable about Kenneth Lonergan’s Manchester by the Sea – and there are many admirable things about this quietly moving drama – is the way its initial enigma seems to need no explanation; yet, once deciphered, the film does not falter but moves only deeper into the emotional territory it charts.
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See this film as soon as you can, preferably with someone you love. Kenneth Lonergan’s third feature as a writer-director is a drama of surpassing beauty, and Casey Affleck’s portrayal of the janitor, Lee Chandler, is stripped-back perfection — understated, unaffected, yet stunning in depth and resonance.
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Affleck has never had a role that matches his minimal, anti-charisma style like this one. His tendency to be mumbly and awkward and withholding fits his character perfectly. And Hedges, as a temperamental teenager working through loss in his own authentically teenage way, is a real discovery. Michelle Williams, as Lee’s ex-wife, doesn’t get many scenes, but she cracks your heart open in the ones she has.
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It’s a movie where even seasoned cinemagoers who feel like or claim to have seen everything are likely to marvel at how director Kenneth Lonergan was able to achieve something new, interesting, painful, hilarious, or beautiful, or some combination of all these things, in every single scene. It’s the type of movie that makes a person reach for the nearest hyperbole to describe it.
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To say Lonergan has evolved further with his third feature would be an understatement: He toggles between his new plot’s years with the relaxed mastery of Boyhood’s Richard Linklater. Plus, he’s finally got a complex central performance that anchors his ambitions to cinema’s all-time great brooders.
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Lonergan layers and then layers some more, allows his characters to stew, not always disclose themselves and then come to decisions and changes naturally, or after due deliberation. And they can relapse and not always be ready for the breakthrough moment toward which the story seems to be pointing. The result is something that feels more akin to a full meal than the usual cinematic popcorn.
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Movie NationNov 30, 2016
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