Some of the synopses of this movie about a psychiatrist who kind of deteriorates into depression and drug abuse make it sound like a sort of wacky, black-ish comedy.
Don’t be fooled. Shrink is a movie about surviving the suicide of someone you love, and in a larger sense, surviving life with is failures and even successes. There are some darkly funny moments, but a whole lot of depression.
Kevin Spacey plays a psychiatrist to the stars: A successful man with successful clients who wallow in neuroses and look to him for excuses for their bad behavior. But he’s increasingly depressed over the loss of his wife, and unable to use the information in his bestselling novels to help himself out of his funk.
I should put in a ROBIN WILLIAMS ALERT for Trooper York: Williams plays–well, I’m guessing a character maybe based on Jack Nicholson?–and he’s actually not very convincing. But he’s not in it much, and he’s not obnoxious.
The main characters are an agent played by Dallas Roberts, who is as powerful as he is neurotic, a screenwriter/tenuous relative to Spacey played by Mark Webber, a troubled urban school kid played by Keke Palmer, and an overly successful strung-out actor played by Jack Huston (yes, of those Hustons).
That’s a lot of main characters. Which gives us the primary failing of this movie.
There’s a writer by the name of Robert Newton Peck who wrote a cute little book on how to write, in which gave various rules about what to do and what not to do. One of the things that stuck with me was “Stay in the phone booth with the gorilla.” In other words, you don’t mention that your main character is in a phone booth (okay, outdated now) with a gorilla, and then go off on 12 tangents while leaving everyone wondering about the character, the gorilla, and the antiquated phone booth.
This doesn’t create suspense, typically. It does create annoyance. And so, while have our main-ist of main characters, played by Spacey, we’re constantly being yanked away from the interesting stories and pulled into another story which isn’t nearly as interesting. Then it gets interesting and we’re pulled away from that into another one.
Paul Thomas Anderson has gotten away with this, arguably, with Boogie Nights and Magnolia, except that he lets the scene finish before switching to a new scene. Not completely resolve, but finish as a reasonably self-contained unit. The exception being when the stories overlap in a suspenseful way and are about meet up.
This movie just sprawls, sort of fecklessly unsure of where it’s going, but reasonably sure about the quality of the material it has in its characters. Who, when you break them down sound pretty cliché: the psych who can’t help himself, the troubled urban kid, the desperate screenwriter, the self-absorbed agent, the star who self-destructs because he’s not producing quality “art”, the starlet trying to sleep her way to the top, the aging actress who can’t get good roles….
Geez, I may have talked myself into thinking this is a worse movie than I thought before I started this review. The characters don’t come off horribly hacky, though. The movie is really buoyed by the relationships of the main characters with the supporting characters, like the titular character with his drug dealer Jesus (Jesse Plemmons). Although this is sort of hacky, too, since, fercryinoutloud, his name is Jesus. Not hay-soos–he’s a ginger named “Jesus”.
Well, at least they don’t put any words of wisdom in his mouth, exactly.
Another bright spot is Pell James as Daisy, pregnant assistant to the high-powered agent, who gives us a reason to like both the agent and the screenwriter. Robert Loggia brings some nice gravitas to his short role. And Saffron Burrows as the aging actress (she’s 36 or 37!) is delightful.
Ultimately, though, the movie founders: It’s too unfocused, even remote from its own characters. We don’t get enough time with them to appreciate their changes, and the movie doesn’t sell their flawed selves well enough to allows us appreciate their transformations. They’re actually not really in conflict with each other most of the time.
The whole thing comes off a little boring, a little listless. Marijuana plays a big part; maybe there’s a connection there. Heh.
The Boy was not thrilled. He thought it could’ve been funnier and overall less drab. I tend to agree.
Second movie in a row we saw that took place in L.A., though. (Previous one: Funny People).