Paul dano dating
) was “deadbeat regionalism,” with lots of kids coming of age on farms.
Maybe this is that sort of film, but it’s smarter, riskier, better than anything I saw that year. I like Gyllenhaal better here than in his showier roles.
In the course of an amazing and horrifying sequence, a dinner at Miller’s house to which Joe has been invited, Jeanette launches into a drunken, seductive dance: She’s telling Miller she’s available, and her son, too.
Bill Camp seems able to take any part and make you wish you could see a whole movie about him. There are a few times that Dano tries too hard: an odd angle he doesn’t need, a too-self-conscious evocation of the American past. He gives his actors space so that the rhythms are their own, and they hold us through the tough final scenes and bittersweet ending. Dano co-wrote the screenplay with partner Zoe Kazan, who also wrote the duo’s 2012 rom-com , it seems like a good fit for IFC Films, as the indie distributor has done decently with smaller indie dramas based on their star power.Both Mulligan and Dano should make themselves available to promote the film.In early scenes, Jeanette is herself playing a part: the loyal, beautifully coiffed ’50s homemaker who soothes her husband’s anxieties, however much he screws up.As strong as Jeanette appears, though, her persona has been contrived to fit her particular time, place, and culture.Later, she will ask her son, “If you’ve got a better plan for me, tell me.I don’t have one.” Joe is too stricken by what he has seen that night to answer.The role-playing game takes place in a medieval-like setting where players control avatars that take on gryphons, dragons, zombies, werewolves and elves.Time travel and alien worlds also are part of the mix.He’s working part-time as an assistant to a photographer who does family portraits and strives to capture an American ideal — how people want to be.Joe’s plan would be for his father to come home and be back with his wayward mom.