Claire Simmons (Jennifer Aniston) is in pain. Chronic pain, actually, the kind she tries to relieve by attending a support group for women who live with the same kind of chronic pain. Claire Simmons has been violently hurt in the past. Does the support group help? Not really. They’re much more concerned with the recent death of Nina (Anna Kendrick), a favorite of the group who recently killed herself in an excessively grim manner. We learn all this within the opening seconds of Daniel Barnz‘s Cake, not because of a clever script or neat direction, or because Aniston or anyone else in her group are able to convey what’s going on with snappy conversation or finely tuned physical expression, but because it is all handed to us without question. We know Claire is in pain because she moves stiffly, we know it’s the result of an accident because she’s covered in scars, we know that Nina is dead because a giant portrait of her is ringed by heartbroken women. We even know that Claire is in a support group for women with chronic pain, because a large chalkboard reads “WOMEN’S CHRONIC PAIN SUPPORT GROUP.” Even from its first moments, Barnz’s film doesn’t trust its audience to unravel his predictable, rote film for themselves. It will only get worse.