Margot und die Hochzeit (2007)

Margot und die Hochzeit: Directed by Noah Baumbach. With Zane Pais, Susan Blackwell, Nicole Kidman, Jack Black. Margot and her son Claude decide to visit her sister Pauline after she announces that she is marrying less-than-impressive Malcolm. In short order, the storm the sisters create leaves behind a mess of thrashed relationships and exposed family secrets.

“Group of erratic, confounding and humorously twisted family members are reunited at a prospective wedding in Long Island, with the estranged Margot (Nicole Kidman) behaving as sort of the ringleader to the inner-chaos (sheu0026#39;s not necessarily a reminder of old hurts, but she brings them up anyway, as if itu0026#39;s her duty). Writer-director Noah Baumbachu0026#39;s style is unlike anyone elseu0026#39;s in the movies right now; as both a writer and a director, heu0026#39;s amazingly compatible working both sides of his talent (his dialogue is the music while his direction–and the nimble editing–provides the rhythm). Baumbach allows his characters to tease and torment each other with quiet, yet unsubtle prodding, and the free-flowing scenes play out beautifully, just like music. If there is a downside to this style, itu0026#39;s that Baumbach can often be too knowing, and when a line or a performance is too clever it can appear forced. Jack Black was a wonderful choice as unemployed Malcolm, the slacker-bridegroom who finds swimming pools disgusting and the thought of being famous too threatening because of the rejection involved; however, Black is allowed too much time to find the humor in his slovenly character. Heu0026#39;s fine when heu0026#39;s made out to be the dupe or the target of girlfriend Jennifer Jason Leighu0026#39;s frustrations, but when he tries to conform to Baumbachu0026#39;s image of Malcolm as an enraged clown, the affectation shows and we lose both the substance and the irony of this man (we get more than we need–and more than we already perceive to be there). Baumbach is also perhaps too brazen staging talks of a sexual nature between adults and children; this works when the subject matter is touched on by the younger people only, but Margotu0026#39;s relationship with her pubescent son (which Margot already accepts is too entwined) skirts uncomfortable parameters which might be more amusing if the characters on-screen laughed a little bit, too. The movie is brittle, though it has a great, wounded heart and very perceptive ears for passive-aggressive arguments and misunderstandings. This family canu0026#39;t get over their neuroses because they donu0026#39;t see themselves as neurotic–only each other, and the world. Itu0026#39;s summed up nicely in a scene with Margot and her gift-bearing husband when she tells him, u0026quot;I hate getting a present that I already have. It makes me feel like you donu0026#39;t really know me.u0026quot; **1/2 from ****”