Margot at the Wedding

A young woman slinks downstairs in her underwear to fix another drink, recover from some bad sex and turn on some music. The secluded house far away from any city limit sign offers a perfect opportunity to crank of the volume without any close neighbors calling the cops. When her sugar daddy finds her dead body, he’ll also find a message for him scrawled on the sliding glass doors in blood. Thus begins You’re Next. This blood-splattered couple is just the appetizer though. The real focus of the film is a neighboring family that puts the “fun” back in “constantly bitching.” Paul Davison (Rob Moran) and Aubrey (the legendary Barbara Crampton) are father and mother to the brood. Drake (Joe Swanberg) is the ass-kissing mess stuffed into a turtle neck, Aimee (Amy Seimetz) is the perpetual Daddy’s Girl even in her adulthood, Felix (Nicholas Tucci) is the disaffected middle child of history, and Crispian (A.J. Bowen) is the ridiculously-named good son who acts as our entryway into a night that’s meant to celebrate 35 of marriage but will be invaded by figures in animal masks who only mean harm.

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The recent cinema of Wes Anderson and his occasional creative collaborator Noah Baumbach have encountered an interesting play with the ever-blurry line that retains an audience’s empathy for an unlikeable protagonist. This week, the Culture Warrior puts those protagonists in focus.

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Margot at the Wedding is not a bad movie, it’s an ill-advised one.

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Margot at the Wedding may be light on plot but it is a truthful character study, and because of this, the film is irresistibly winning.

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Margot at the Wedding owes more directly to the films of Woody Allen, though to the sort of Woody Allen picture that isn’t very popular…”

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