Amoeba Music

Dark and funny, this bitter little comedy comes with sharp pointy teeth and a soft underbelly. Margot at the Wedding is an intellectual smörgÃ¥sbord without overindulging in “smart” references, plot curve balls, or even winning attempts of redemption.

Margot, a married and successful writer living in Manhattan, travels by bus with her son, Claude, to her family's Long Island home for her estranged sister's wedding. We quickly learn that Margot (Nicole Kidman) is tightly wound, very smart, and incapable of not saying exactly what she's thinking even if - especially if -  it's cruel. As they arrive at the house on a short cliff by the sea we meet her mellow new age sister, Pauline (Jennifer Jason Leigh) and her fiance (Jack Black) who is sightly less than impressive. Margot can barely contain her disdain and you feel a change of air pressure within her sister's family unit which also includes her own teenage child, Ingrid, from a previous relationship. Soon, we realize that Margot's oozing destruction comes form her own life crisis and that she's really come to meet her lover, escape her own life and attempt a change in course.

There is a moment in this film when Parker Posey is so vulnerable and desperate and beautiful that one remembers why we loved desperate crazy women in cinema before all this feel-good-about-yourself hullabaloo started.

She clutches her leaving lover, face wet with tears, slip bunched around limbs longing to fling themselves at him and loathing herself for it. Such a romantic image recalls French New Wave and American Noir as you witness an inevitable breakdown. Her love and her crazy are startling and translatable. This chemistry with herself is part of why Posey's Nora is one of the best character studies I've seen in a long time. Posey explores and exposes throwing away the funny femme characterizations she's begun to play with in bigger, less indie films and shatters herself into so many facets - sparkling like a jewel. Brilliant. Complex. Fragile, flawed and unique. The story and stories around her are just the stuff off indie romantic comedies and ultimately fill in the background of what can only be her in a focus so sharp we truly understand the phrase lovable neurotic.

Mike White has a knack for making you feel uncomfortable. After all, he did pen Chuck and Buck as well as several episodes of Freaks and Geeks (both bodies of work are highly underrated). His characters can be so awkward that I sometimes need to look away.

Shannon plays a lonely executive assistant whose life spins out of control due to the untimely death of her dog, Pencil. Pencil was her life and now she has no life. That is until a kind veterinarian (Sarsgaard) offers Shannon a new dog to adopt. Not only does she fall in love with the dog but with the vet as well.

First you must know that, to me, men or women in drag are magical creatures - like unicorns. I love them with a wonderment I can't explain or dare not lest I somehow diffuse the potent joy I get just from admiring their mystical powers of fashion and daring.

That said, Breakfast unfolded for me like a rose in the gutter. At first a quaint story of a misfit orphan in an unflinching Irish landscape, it quickly becomes a quixotic journey of a boy/girl in search of love. And the best part is that our hero/heroine, who has always known who he/she is, just becomes more and more himself/herself no matter the hardship or heartache.