‘Millers in Marriage’ Fails to Take Flight: 90s Nostalgia Not Enough

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“Millers in Marriage” may be set in modern times, but the ‘90s are never far from the screen.

Edward Burns examines the struggles faced by people in their fifties during a mid-life crisis. They often long for their past years, when “Seinfeld” was popular and AOL distributed CD-ROMS across the web.

Similarly, this movie harks back to the era when narratives revolved around troubled individuals searching for the elusive aspects of life. It shares similarities with films like “Walking and Talking,” “Singles,” and of course, “The Brothers McMullen” by Ken Burns (1995).

In most stories, the struggles of middle age aren’t portrayed with much depth, yet all too often, narratives get stuck in repetitive patterns without finding a way to break free from them.

Meet Maggie, played by Juliana Margulies, who is married to a declining novelist named Nick, depicted by Campbell Scott.

Indeed, two major figures are professionals in writing and art, while all three maintain a strong connection to New York City (the Big Apple). Burns emphasizes the importance of this concept by having a character express it directly: “Write what you know.

Gretchen Mol plays the character of Eve, once a popular indie singer, who chose domesticity with a persistent alcoholic (Patrick Wilson). The role lacked depth for him. A magazine writer (Benjamin Bratt) seeks more than just an interview from Eve about her past successes, but she feels too set in her ways to rekindle excitement in her life.

Later, we have Andy (portrayed by a bearded Burns), who is now in a relationship with Renee (Minnie Driver). Previously, he had escaped from the clutches of Tina (Morena Baccarin), who was not particularly pleasant.

Both Baccarin and Wilson should have held out for a rewrite of their toxic characters.

In this movie, the familial bonds play a minor role, primarily serving as the basis for its title. Instead, it centers around strained marriages, which are influenced by professional setbacks, alcohol issues, or diverging life paths.

The family connection is only significant in giving the film its name; otherwise, it explores troubled marriages, marked by career disappointments, alcohol abuse, and lives taking different trajectories.

The material is full of potential for dramatic tension, and Burns possesses the talent to bring it to life – at least theoretically. However, it’s puzzling why so many storylines feel dull and unsurprising. Bratt convincingly portrays a man grappling with the realization that his physical attractiveness and career aspirations are both waning.

He’s deeply anxious about helping Eve escape her miserable marriage, but it’s challenging to understand her hesitation, even with all the efforts Mol has made.

Instead of a sense of narrative surprise, there seems to be a lack of unexpected character developments. Couldn’t some of these characters defy our assumptions not only towards their partners but also towards us as viewers? Life can be unpredictable and complex. This film captures that reality without exploiting it.

We patiently observe as characters either start acting, sleep, or exhibit subtle resistance. The clarity of their connections begins to form, yet a sense of sluggishness prevails instead.

Avoid laying the fault at the actors’ feet. They skillfully work with a script that has its inconsistencies, each of them having their own shining moments. Eve’s struggles with giving up her career for married life resonate deeply and strongly. It could be beneficial to explore more about her now-adult children in the story, as this would provide insight into what she may have given up and perhaps what she might have gained from that choice.

In my critique, some moments of subtle tension unfold as characters test the boundaries of their emotional bonds. Watching yet another character grapple with the infamous “writer’s block” on screen feels painfully familiar and is long overdue for a well-deserved break – perhaps an extended hiatus of 10 years would do it some good.

At the very least.

At 56 years old, Burns presents an ideal candidate for exploring the romantic tales of more mature couples. This less glamorous subject offers a rich opportunity for independent filmmakers to delve into.

Marrier’s Toolkit” seems similar to what we require from him at present, but it turns out to be less satisfying and more disappointing instead.

Title Analysis: “Millers in Marriage” delves into the romantic journeys of appealing, mid-life individuals. However, it seems to lack the depth and insight that such a topic requires.

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2025-02-19 21:03