There are hardly any consequential missteps to this film, but that's largely because there's only so much to this film to begin with, and while that emphasizes the strengths, - of which there are more than a few - it also emphasizes the shortcomings, enough so for the film to limp along until it finally sputters out just short of genuinely rewarding. No, Kalin's direction has plenty of highlights to give you glimpses at what very much could have been, but in one too many places, Kalin coasts with storytelling momentum, hardly ever to where you're faced with the blandness that I was not expecting to be in this short of supply, but decidedly to where some sense of aimless ensues due to limited atmospheric kick, and joins an air of ambition to what really flavored up moments in atmosphere there are in giving you more time than you should be given to notice the natural shortcomings. Many are saying that what really undercuts this film is the unlikability of its characters, and I won't go so far as to say that this film's leads are nearly as uncompelling as they say, partially because their portrayals by the performers are so inspired, but there is a touch too much sleaze to people we're supposed to feel sympathy for, and that can work for only so long, which is unfortunate, because, quite frankly, when things aren't sleazy, they're not really all that interesting, at least when you take into account the way Tom Kalin handles things. Based on a relatively infamous true story, this film pays little attention to telling you about characters you already know, at least from other films, and I guess that's kind of easy to get over, seeing as how this film is hardly cleansed of expository depth, but there are times where you seriously wish that you knew more about the heart of this character drama, especially when the characters do deeds that are too questionable for you to buy into without reinforced investment. There's not a whole lot that's unique about this story, and sure, there are plenty of aspects that aren't too formulaic, but there are plenty of other aspects that are borderline tired in their familiarity, though not so much so that you don't feel as though you should probably get to know these familiar characters and their familiar story a bit more. To go ahead and discuss a problem that is as great as any in this promising effort, this film's story concept is kind of limited in potential, being juicy and all, but with relative thin spells that weigh down potential momentum, whose being directed down a somewhat familiar path hardly helps.
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I don't know if I'm more disturbed by the fact that this is a mother and her son fooling around or by the fact that this is Julianne Moore and Eddie Redmayne fooling around with each other (Shoot, I joke, but Redmayne looks a whole lot better than me, it's just weird that he stole Moore's lips), but either way, something gets under your skin with this pretty decent film, no matter how much the problems cool down some of the heat to this effort. Shoot, maybe good ol' Eddie Reddie really is a chameleon or something, and I'm not just saying that because his eyes are about as separated as this film, even though where Redmayne's eyes are physically separated, the dysfunctional family members featured in this drama are anything but "physically" estranged, if you know what I mean, uh-huh, uh-ew. I think that most of us can at least settle on the opinion that Redmayne and Moore are both still strange-looking people, unless, of course, you look at "The Good Shepherd" and this film and realize that Redmayne must not be too unusual in appearance, seeing as how you can kind of see him as most anyone's kid. The parts of Redmayne that you can't fully buy into as what you might expect from the baby of Matt Damon and Angelina Jolie are pretty much those of Moore, except Redmayne's still got those blasted big lips, and Moore doesn't have any at all. Oh yeah, schizophrenia, family dysfunction, incest and bisexuality, now that is some classy stuff right there, but I'm sure the filmmakers can make it all proper and whatnot, because they were at least intelligent enough to get Eddie Redmayne as Julianne Moore's son. Granted, the name was also adopted by some '80s metal band that is about as obscure, but that Savage Grace was power metal, so I reckon that means that you can be only so hardcore with this title before you have to get at least a little bit tasteful, as this film will also tell you. I love this film's title, because it pretty much tells you just how formal this "sleazy" drama is going to be, seeing as how it is so intellectually ironic that it was once used as the name for some short-lived progressive rock band.
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