I Smile Back sits firmly within the territory of "unwatchable" films.
Lacking any sense of purpose, I Smile Back lost me about two minutes into the film. Director Adam Salky and editor Tamara Meem have no idea how to construct a film, because I Smile Back has no central story whatsoever. It is just an arrangement of scenes that all involve Sarah Silverman's characters being put through the ringer. It is aided in being the worst film of the year by Paige Dylan and Amy Koppelman's turd of a screenplay, which averages one good line of dialogue per writer. All through this turd's 88 minute run time I was looking at my watch, pleading for the agony to end. Who'd have thought that there was fat in an 88 minute movie, but there are lots of scenes where Laney just walks around on drugs looking vacantly at things.
The film only exists to create indie Oscar-bait for comedy actress Silverman. It has every scene that Oscar-baiting tripe has for lead actress pushes. Scene where the female protagonist stares at her naked body in the mirror? Check. Generic anecdotes from father/husband about what that female was like when she was younger? Check. Family drama? Check. Bunch of scenes where she gets nailed by guys (who aren't her husband of course). Check. Drug scene? Check. Near-death experience scene? Check. It only serves to highlight the injustice that big studios get blamed for producing Oscar bait. Small studios can do it too, and frequently do it worse.
Each character is lazily written with terrible character decisions. Each "plot point" (to denigrate that phrase in value) passes while the writers and director lazily swat at it in some attempt at cohesive story. It makes no effort to delve into her depression, marriage, drug addiction or father issues, instead preferring to show yet another sex scene with some stupid new twist.
Silverman's performance is the only reason I watched this film, and she's serviceable. Nothing to keep my attention and certainly nothing deserving of awards attention. Josh Charles works really hard when he's on screen, and manages to elevate Silverman's sleepwalking role. Oona Laurence, who proved herself extremely worthy in Southpaw, is wasted in a tiny part.
I Smile Back is ultimately a less effective version of Rachel Getting Married. Silverman can't light a candle to Hathaway, the film lacks any semblance of cohesion and it is excruciatingly boring. In a year where I'll See You In My Dreams, Spy, Carol, Brooklyn and Grandma are proving to be solid and interesting character studies for strong female characters, its disappointing that I Smile Back is such a spectacular waste of time.
Lacking any sense of purpose, I Smile Back lost me about two minutes into the film. Director Adam Salky and editor Tamara Meem have no idea how to construct a film, because I Smile Back has no central story whatsoever. It is just an arrangement of scenes that all involve Sarah Silverman's characters being put through the ringer. It is aided in being the worst film of the year by Paige Dylan and Amy Koppelman's turd of a screenplay, which averages one good line of dialogue per writer. All through this turd's 88 minute run time I was looking at my watch, pleading for the agony to end. Who'd have thought that there was fat in an 88 minute movie, but there are lots of scenes where Laney just walks around on drugs looking vacantly at things.
The film only exists to create indie Oscar-bait for comedy actress Silverman. It has every scene that Oscar-baiting tripe has for lead actress pushes. Scene where the female protagonist stares at her naked body in the mirror? Check. Generic anecdotes from father/husband about what that female was like when she was younger? Check. Family drama? Check. Bunch of scenes where she gets nailed by guys (who aren't her husband of course). Check. Drug scene? Check. Near-death experience scene? Check. It only serves to highlight the injustice that big studios get blamed for producing Oscar bait. Small studios can do it too, and frequently do it worse.
Each character is lazily written with terrible character decisions. Each "plot point" (to denigrate that phrase in value) passes while the writers and director lazily swat at it in some attempt at cohesive story. It makes no effort to delve into her depression, marriage, drug addiction or father issues, instead preferring to show yet another sex scene with some stupid new twist.
Silverman's performance is the only reason I watched this film, and she's serviceable. Nothing to keep my attention and certainly nothing deserving of awards attention. Josh Charles works really hard when he's on screen, and manages to elevate Silverman's sleepwalking role. Oona Laurence, who proved herself extremely worthy in Southpaw, is wasted in a tiny part.
I Smile Back is ultimately a less effective version of Rachel Getting Married. Silverman can't light a candle to Hathaway, the film lacks any semblance of cohesion and it is excruciatingly boring. In a year where I'll See You In My Dreams, Spy, Carol, Brooklyn and Grandma are proving to be solid and interesting character studies for strong female characters, its disappointing that I Smile Back is such a spectacular waste of time.