The trailers for Hope Springs might lead you to believe it's a romantic comedy about a couple trying to jumpstart their sexless marriage but it causes more empathetic cringing than chuckles. Audiences will be drawn to Hope Springs by its stars Meryl Streep Tommy Lee Jones and Steve Carell and Streep's track record of pleasing summer movies like Julie & Julia and Mamma Mia! that offer a respite from the blockbusters flooding theaters. Despite what its marketing might have you believe Hope Springs isn't a rom-com. The film is a disarming mixture of deeply intimate confessions by a married couple in the sanctuary of a therapist's office awkwardly honest attempts by that couple to physically reconnect and incredibly sappy scenes underscored by intrusive music. Boldly addressing female desire especially in older women it's hard not to give the movie extra credit for what writer Vanessa Taylor's script is trying to convey and its rarity in mainstream film. The ebb and flow of intimacy and desire in a long-term relationship is what drives Hope Springs and while there are plenty contrived moments and unresolved issues it is frankly surprising and surprisingly frank. It's a summer release from a major studio with high caliber stars aimed squarely at the generally underserved 50+ audience addressing the even more taboo topic of that audience's sex life.
Streep plays Kay a suburban wife who's deeply unsatisfied emotionally and sexually by her marriage to Arnold. Arnold who is played by Tommy Lee Jones as his craggiest sleeps in a separate bedroom now that their kids have left the nest; he's like a stone cold robot emotionally and physically and Kay tiptoes around trying to make him happy even as he ignores her every gesture. One of the most striking scenes in the movie is at the very beginning when Kay primps and fusses over her modest sleepwear in the hopes of seducing her husband. Streep makes it obvious that this isn't an easy thing for Kay; it takes all her guts to try and wordlessly suggest sex to her husband and when she's shot down it hurts to watch. This isn't a one time disconnect between their libidos; this is an ongoing problem that leaves Kay feeling insecure and undesirable.
After a foray into the self-help section of her bookstore Kay finds a therapist who holds week-long intensive couples' therapy sessions in Good Hope Springs ME and in a seemingly unprecedented moment of decisiveness she books a trip for the couple. Arnold of course is having none of it but he eventually comes along for the ride. That doesn't mean he's up for answering any of Dr. Feld's questions though. To be fair Dr. Feld (Carell) is asking the couple deeply intimate questions so if Arnold is comfortable foisting his amorous wife off with the excuse he had pork for lunch it's not so far-fetched to believe he'd be angry when Feld asks him about his fantasy life or masturbation habits.
Although Arnold gets a pass on some of his issues Kay is forthright about why and how she's dissatisfied. When Dr. Feld asks her if she masturbates she says she doesn't because it makes her too sad. Kay offers similar revelations; she's willing to bare it all to revive her marriage while Arnold thinks the fact that they're married at all means they must be happy. Carell's Dr. Feld is soothing and kind (even a bit bland) but it's always a pleasure to see him play it straight.
It's subversive for a mega-watt star to play a character that talks about how sexually unsatisfied she is and how unsexy she feels with the man she loves most in the world. The added taboo of Kay and Arnold's age adds that much more to the conversation. Kay and Arnold's attempts at intimacy are emotionally raw and hard to watch. Even when things get funny they're mostly awkward funny not ha-ha funny.
The rest of the movie is a little uneven wrapped up tightly and happily by the end. Their time spent soul-searching alone is a little cheesy especially when Kay ends up in a local bar where she gets a little dizzy on white wine while dishing about her problems to the bartender (Elisabeth Shue). Somewhere along the line what probably started out as a character study ended up as a wobbly drama that pushes some boundaries but eventually lets everyone off the emotional hook in favor of a smoothed-over happy ending. Still its disarming moments and performances almost balance it out. Although its target audience might be dismayed to find it's not as light-hearted as it would seem Hope Springs offers up the opportunity for discussion about sexuality and aging at a time when books and films like 50 Shades of Grey and Magic Mike are perking up similar conversations. In the end that's a good thing.
The Wackness winner of Sundance Film Festival's Audience Award compares favorably with some of the best teen angst movies of the past. It could have been just another stoner slack-fest but instead finds much to say and should resonate with not only those who also came of age in the ‘90s but anyone who ever crossed that frightening threshold. Set in the summer of 1994 when N.A.S Notorious B.I.G. and Outkast ruled the airwaves Luke Shapiro (Josh Peck) is spending his last summer peddling marijuana out of an ice cart and trading it for free therapy sessions with his aging pot-smoking psychiatrist Dr. Squires (Ben Kingsley) who seems to be trying desperately to hang onto his own youth. Although the advice (“you need to get laid”) he hands out probably wouldn’t pass muster in most medical circles the two strike up an unusual relationship. Luke takes his first tentative steps into manhood courtesy of his shrink’s stepdaughter Stephanie (Olivia Thirlby) while Squires must deal with a fading marriage to his much-younger wife (Famke Janssen). Peck--best known for Nickelodeon’s bubblegum sitcom Drake and Josh--exhibits great promise with his low-key simple performance as a messed-up pot-dealing teenager on the verge of adulthood. He could have played this as a straight stoner but instead is remarkably three dimensional offering a portrait of a young man in transition. He’s a guy whose problems with his parents friends and girls are just the tip of the iceberg in his own coming-of-age drama. As the other half of this very odd couple Kingsley seems to be relishing his role as an aging hippie therapist whose lifelong obsession with pot has clearly rattled his brain. Squires own confusion leads him to a hilarious “romantic” encounter with a dreadlocked little tramp played amusingly by Mary-Kate Olsen who is probably STILL talking about her make-out scene with the Oscar-winning actor. Also along for Luke’s quirky ride into manhood is Thirlby who showed great promise in Juno and confirms it here as a very confident young woman who deflowers the awkward Luke in a wonderfully understated bedroom scene. Janssen has little to do but look lovely while Talia Balsam and David Wohl are in for some brief moments as Luke’s difficult parents. And look for nice bits from Jane Adams as a new wave keyboard player Disturbia’s Aaron Yoo and Method Man as Luke’s supplier. It’s probably no coincidence young writer/director Jonathan Levine graduated from high school in 1994--the same year he has set for The Wackness. Clearly he knows the era and particularly the music which plays such a key role in setting the mood of this picture. Levine has passion for the hip hop sounds of the era and has effortlessly incorporated them directly into his storyline. Where The Wackness really departs from your average slacker epic however is in its seriousness of tone. At its core the film is not unlike classic teen movies such as Risky Business and Fast Times at Ridgemont High. Levine creates flawed almost tragic figures we can identify with in one way or another. That’s what holds this somewhat meandering tale together so well. We come to like these characters and wish them well as their lives are hovering at a crossroads. Levine’s filmmaking style is slightly awkward and the movie is unattractively lit but with The Wackness Levine captures a moment in time with great skill and heart.