Movie Review: Who We Are Now

Who We Are Now **** / *****

Directed by: Matthew Newton.

Written by: Matthew Newton.

Starring: Julianne Nicholson (Beth), Zachary Quinto (Peter), Jess Wexler (Gabby), Lea Thompson (Alana), Jason Biggs (Vince), Jimmy Smits (Carl), Emma Roberts (Jess), Camila Perez (Maria). 

 

It’s always great to see a talented character actor get a lead role that they can really sink their teeth into – and show what they can do. Who We Are Now gives the wonderful Julianne Nicholson such a role, and she makes the most of it. Nicholson is always great in TV and movies – mostly in supporting roles, and small parts, including in recent years’ good turns in I, Tonya, Novitiate and August: Osage County. She often doesn’t get the attention grabbing roles, but she can always be counted on to do terrific work, even if it’s just in a few scenes. She is at the center of Who We Are Now – and relishes the opportunity to carry the movie on her shoulders. She doesn’t disappoint.

 

In the film, Nicholson plays Beth, a woman who has just got out of jail after 10 years on a manslaughter charge – the details of which, we will not receive until right near the end of the film. Before she went away, she signed away the parental rights of her baby boy Alec to her sister Gabby (Jess Wexler) and her husband. Now that she’s out, she wants at least partial custody – or at the very least, for her son to know who she is –he is under the impression that Gabby and her husband are his biological parents, and this is just Aunt Beth. Gabby isn’t so sure she can trust her sister – and is wary of her ruining her life once again. Because of the custody battle, we are introduced to Carl (Jimmy Smits), who runs a law group aimed at helping poor people – who is representing Beth – and more importantly Jess (Emma Roberts), one of his staff members, who comes from a rich family, but wants to make a difference instead of just making a lot of money. Eventually, the two women will bond.

 

Written and directed by Matthew Newton, Who We Are Now isn’t a perfect film by any means – in terms of its plot, it is a little paint by numbers (you are never really surprised by any of the revelations), and at times he relies too heavily on his actors delivering big speeches to tell you everything you need to know about them. Yet, for the most part, the cast is more than good enough to make even these moments work – especially Nicholson. Here, she is playing a wounded woman – ashamed of her past, but trying, desperately trying, to move into the future. Beth is not a vocal person – she tries hard to hide her emotions, bury them under a stern exterior, and cutting, dry wit. But she’s more fragile than she wants to admit – more vulnerable. It is a great role for Nicholson – who more than delivers.

 

The supporting cast is all in fine form as well – even if their roles aren’t as fleshed out. Roberts is fine as the rich girl, trying to decide for herself what she wants – although it’s still possible for her mother (Lea Thompson) to make her feel like child. Smits, as her wise mentor, is fine – although I wish he was given another note to play other than wise mentor. As a kind of love interest for Beth, Zachary Quinto is also fine – he’s a divorced vet, struggling with being home, being away from his kid, and perhaps, with his drinking. Jason Biggs is on hand to play an asshole in a couple of scenes – something he does quite well.

 

If Newton’s screenplay was a little less wordy, the movie would have the feel of real life. We cut into these people’s lives midstream, and leave them there as well – this isn’t a film that wraps everything up into a neat little package, which resolves everything definitely, and then ends. These people are, in many ways, a mess at the beginning of the film, and pretty much there at the end as well – they have taken steps in the right direction, but have not solved all their issues. Perhaps they’ll be fine, perhaps not. If there is an issue with the film, it’s that Newton does feel the need to spell everything out a little too clearly with dialogue – to give everyone theatrical monologues, instead of finding another way. Still, I think for the most part, Who We Are Now is a very good film, with a great central performance from Nicholson – which we can only hope isn’t the last time someone writes her a role this good again.