![]() ![]() Ed’s crisis of faith is neither innovative nor sufficiently integrated, reducing to simplistic tropes and scenarios. It’s a blessing that Gunn and screenwriters Meg Tilly and Kelly Fremon Craig find room for subtlety and nuance, but they lack confidence that their audience will remember what’s at stake, spelling it out on a few occasions. The deceased mom’s absence is felt throughout the family home, both within the empty, lifeless corners imprisoning Ed in grief and debt, as well as the handprint-emblazoned mailbox in need of repair (one of the film’s glaring metaphors).ĭespite such strengths, the film has notable weaknesses as well. From editor Parker Adams’ lively, propulsive montages to cinematographer Maya Bankovic’s diffused lighting inside the Schmitts’ cozy house, the grounded aesthetics are absorbing and, at times, sobering. Late in the second act, Sharon’s image is blurred through a bottle of booze when she hits rock bottom, feeling the inadequacy of her identity as a mother and miracle worker. Gunn adeptly exercises a necessary modicum of visual dexterity to emphasize character drive. There’s an innate emotional power in this dichotomy. His hulking, broody stature also works brilliantly in his favor as it illuminates the underlying poignancy of this strong guy’s ultimate weakness: his inability to protect his wife and tiny daughter from the insidious ravages of an incurable disease. As an actor who gives a stronger performance in the absence of dialogue, he connotes a finely tuned resolve and open-hearted honesty within the quieter moments. Ritchson is perfectly cast as a laconic, weary father. Plus, she brings a naturalism to the scenes shared with Mitchell and Hughes, rising stars in their own right, who efficiently deliver precociousness with the right amount of potency. ![]() In Swank’s capable hands, the character’s predictable arc is made formidable, conjuring sympathy and strength in spades. The two-time Oscar winner calibrates Sharon’s spirited perseverance, as well as her susceptibility to angst and sorrow. Swank typically turns in solid work when given a role with dimension and complexity, which proves true again in this case. But as Sharon steadfastly shoulders the Schmitt’s stresses, her own demons crawl out of the shadows once again. Sharon starts with small selfless acts, much to the baffled chagrin of Michelle’s grieving widower father, Ed ( Alan Ritchson), cutting hair for a charity fundraiser, organizing the family’s mounting bills and babysitting Michelle and her slightly older sister, Ashley (Skywalker Hughes). That message crystalizes when, at the checkout counter to buy beer, she spots a newspaper headline about 5-year-old Michelle Schmitt (Emily Mitchell), who’s been hit by dire circumstances twice over: the death of her saintly mother, Theresa (Amy Acker), and a desperate need for a liver transplant. It finally dawns on Sharon that she needs to find a greater purpose to her life. ![]()
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