Christopher Abbott

Hello I Must Be Going

On the surface, Todd Louiso’s Hello I Must Be Going feels apiece with a familiar American indie formula, as the film features at its narrative center a thirtysomething woman from an upper-middle class home suffering through a personal and emotional crisis. And to be fair, the film encounters more than a few moments in which it comes across like a direct continuation of this recent “Sundance formula.” At the same time, Hello I Must be Going is a sincerely personal take on its subject matter, opting for three-dimensional leads and earned pathos over quirky character traits, cynical humor, or an invasively stylized visual approach. Amy (Melanie Lynskey) is living with her parents in overbearingly quaint suburban Connecticut while enduring a stage of extended limbo after a divorce with her hotshot NYC lawyer husband cheated on her with an associate. Amy’s father, Stan (John Rubinstein) is attempting to woo a client whose business would ensure retirement and trips around the world, while Amy’s mom Ruth (the wonderful Blythe Danner) grows increasingly tired of Amy’s aimless occupation of the house. At a business dinner, Amy meets and falls for her father’s client’s 19-year-old son Jeremy (Christopher Abbott) and a mismatched rebound quickly morphs into a complicated emotional journey that forces Amy to learn what love is and establish her self-worth.


Reel Sex

If you’re like me and have slumped into a mind-numbing semi-sleep for the past five Sundays thanks entirely to the comings and goings of Westeros, then you have probably woken up with a jolt halfway through your Khal Drogo (Jason Momoa) dreams to discover yourself staring down the barrel of a gun. And that gun is HBO’s freshman series Girls, a show so fraught with first world problems and entitlement it’s nearly impossible not to experience polarizing feelings. On the one hand, Girls is an engaging slice of life dramedy revolving around the personal and (maybe) professional lives of three recent college graduate lady friends (and one still-in-school cousin). Setting Girls apart from most shows currently broadcasting is creator and head writer Lena Dunham’s dedication to exposing the warts and imperfections of her four post-Sex and the City women while they each navigate the troubling landscape of sex, love, feelings, and career in New York. It’s just that her women, like their HBO godmothers, are living in a New York that doesn’t exist for most city dwellers.



Last year’s Sundance Film Festival saw an uptick in films regarding, weirdly enough, cults and cult-like sensibilities. This year’s theme has turned to an appropriate cousin to the dangers of indoctrination – the crumbling of the American dream. Characters that bought into what they thought they could (and should) get out of life have faced copious crises throughout the festival’s films, and Todd Louiso‘s lovely Hello I Must Be Going distills those big ideas and issues down to focus on just one victim of the American nightmare. Perpetual supporting standout Melanie Lynskey leads the film as directionless thirtysomething Amy Minsky. Amy’s happy (in her eyes) marriage to David (Dan Futterman) has recently ended, and she’s left with one place to go – back to her parents’ home in chi-chi suburban Connecticut. Without a job, a finished degree, friends, or most of her belongings, Amy is forced to acclimate to Ruth (Blythe Danner) and Stan (John Rubinstein) as they embark on the next step of their lives. In Louiso and screenwriter Sarah Koskoff‘s spin on a “one last job” film, Stan has one more big fish client to land before retiring – an engagement that could be ruined when Amy takes up with the client’s stepson, Jeremy (Christopher Abbott), who just happens to be only nineteen-years-old.

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published: 01.27.2015
published: 01.27.2015
published: 01.26.2015
published: 01.26.2015

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