American Woman

No investigation and no coroner’s report, the clue is to be found at the funeral.

The director Jay Scott and the writer Brad Ingelsby’s grim look on the fawlty socialized lifestyle of the wannabe popularity, is sad. It shouldn’t be sad. The sadness is to be addressed. And poignancy is the part of the game. What it shouldn’t have is sadness in the air. You should be moved emotionally with the life that Sienna Miller’s character goes through. But it doesn’t happen. Or it didn’t happen with me. And the man who should be on stand is Brad’s textbook script. The structure not only seems lazy but often immensely dull. These transitions that the film makes is also handled with a lofty subjective tricks by Scott.

One of the most difficult things I find to write is time lapse, narratively. You can easily get loud or inadvertently obnoxious in your language. And the film, whenever it jumps from one antic to another, loses the battle to hold up to its energy. And there is enough energy to make your head spin. In fact, one of my favorite scenes of the film is when these characters, the family comes together and shares a meal or an occasion. The practical environment spread throughout these scenes is simply spectacular.

You can see everyone equally involved or more accurately not involved in each others’ lives. The time when the film starts losing control is when Aaron Paul arrives or is about to arrive. And no, even his performance couldn’t save the wreck ball the film is then. Surprisingly his character is everything that we and Sienna Miller is looking for. But it is that very reason. It is that cheap shot of taking away from the viewers and giving it back to us, is what we shouldn’t entertain. American Woman could have gone anywhere, instead of where it does, to play the bold game.

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