(Written by Intern, Sean Barry)
Nothing brings a family together like long-standing conflict, and when it becomes confined to a single building, tensions are guaranteed to rise through the roof. Mother, Couch showcases this idea with highly unexpected results. A formidable cast of award-winning actors, including Ewan McGregor, Ellen Burstyn, and F. Murray Abraham, helps add necessary depth and gravitas to their characters. Unfortunately, the overall result is too messy and unfocused to convey the proper message. Sudden morality changes and improper music choices solidify the unintentional abnormality of the entire situation.
A family’s weekend is thrown out of whack when the matriarch (Ellen Burstyn) sits down and refuses to move from a sofa located upstairs at a private-owned furniture store. Her son, David (Ewan McGregor), is immediately at her side to provide what she needs and try convincing her to leave. When the mother’s strong will keeps her unmoved, David must convince his other two siblings to help. He begins realizing just how much influence his mom has had over his life when he tries to interact with his own wife and kids. After spending some substantial time with the shop owner and his family, David starts learning how to put his own needs first and take care of himself.
As expected, Ewan McGregor gives an admirable performance as a man struggling to simultaneously be a proper son, husband, and father. Ellen Burstyn is mesmerizing as a woman trying her best to keep using her influence over her children as much as she can. Their discussions about past grief and resentment exhibit strong dramatic skills from both actors. Conversely, one of the store workers, played by Taylor Russell, is played as a bizarre girl who speaks to the family a little too comfortably for someone who is supposed to keep herself professional. Although her character is written to be somewhat unusual, Russell’s blunt way of speaking and constant body shifts when moving to new topics is distracting.
Later on, Russell’s character almost completely disappears without mention despite being a bold presence in the beginning. The same occurs with David’s family. His wife and kids make frequent appearances in the beginning and middle before quietly leaving when the ending conflict is getting resolved. Many other peculiarities arise from the script itself. While writer/director Niclas Larsson does quickly display the conflict, he takes too long to explain why it is occurring. When the family arrives to retrieve their mother, they hardly ever try asking why she wants to stay or what she was doing before this. Additionally, at least once every scene, a character asks a question that does not get answered. The conversation abruptly changes to a new subject, and they move on. Once in a while, this technique is acceptable, but the frequency becomes disorienting and irritating. For Larsson’s directorial debut, this is a noteworthy effort, bolstered especially by especially strong performances and poignant monologues about life and grief.
One would be better off staying on the sofa than experiencing the uneven storytelling of Mother, Couch when it hits limited theaters in Los Angeles and New York on July 5th.
