Life During Wartime (15)

Reviewed,Robert Hanks
Friday 23 April 2010 00:00 BST
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

The Joneses is small beer compared with this portrait of family dysfunction, a sequel to Solondz's Happiness, though with a completely different cast, including a large contingent of British talent.

Joy (Shirley Henderson), eldest of the Jordan sisters, discovers that her husband Allen (formerly Philip Seymour Hoffman, now Michael Kenneth Williams – Omar Little in The Wire) hasn't completely broken his obscene phone-call habit, and she is still haunted by her dead suitor Andy. In Florida, second sister Trish (wonderful Allison Janney) is trying to put the past and her paedophile husband, Bill (Ciaran Hinds), behind her, and falling hard for a short, fat, ugly man in the process. In California, third sister Helen (an unexpectedly sharp Ally Sheedy) has abandoned poetry for the harder, purer discipline of screenplays and is going out with Keanu.

All this takes place in curiously empty, silent rooms and streets, as though everyone is at work or dead – at times, the latter seems more likely. It's bewitching and clever, but heavyhanded: the camera pans very slowly across a room as a message is left on an answerphone, and long before it gets there you just know that there's going to be a dead body; and the incessant repetition of the word "forgive" – doesn't Solondz trust his audience to get it the first time?

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in