Directed by Rodrigo Garcia
Starring Mila Kunis, Glenn Close, Stephen Root, Carla Gallo, Michael Hyatt, Chad Lindberg, Joshua Leonard and Violet Brinson
Synopsis: Molly (Mila Kunis) is a mother battling addiction, fighting emotional triggers and running out of options. Deb (Glenn Close) is her embittered mother, who has been betrayed, bullied and brow beaten. A sudden return home opens up old wounds, while offering one last shot at salvation.
This patchy melodrama written and directed by Rodrigo Garcia is propped up by three strong performances. Mila Kunis and Glenn Close go head to head for two hours, in a character piece which unflinchingly addresses heroin addiction. Neither commitment nor passion hamstrings these actors, but rather the predictable manner in which their story plays out.
Molly is a mass of nervous tics, wasted potential and bad choices. Peppered with track marks and sporting swollen gums, she is visually stripped to the quick. She exudes a desperation borne of narcotic ingestion and physical neglect. Deb meanwhile, is permanently on the defensive, scarred by years of broken promises and infinite betrayal.
Four Good Days is a copybook example of rejection and reconciliation which goes over old ground. Both actors grandstand for a majority of the running time, forever fraught and fractious. Their dynamic is sketched in very broad strokes through high octane shouting matches, moody silences and tearful moments of solitude.
Bouncing between confrontations on the front porch to baleful battles in their garage, things take a long time to move forward. Back story is offered fleetingly through reminiscence, before the shouting recommences. Sweat soaked sheets and last minute hospital relapses maybe true to life, but empathy is oddly lacking.
Between these two barnstorming performances comes the measured calm of Stephen Root as husband Chris. His compassion, love and resignation for the situation is apparent. He represents the voice of reason amongst irrational outbursts. Although his sense of solidarity leans towards Deb, Chris never completely dismisses Molly nor actively undermines her. It demonstrates an understanding and passion for the material no less intense than that of his co-stars.
What becomes apparent after the fact, is how poorly served these actors have been by this story. There is no doubting the nobility of trying to tackle drug addiction on film, but unfortunately Four Good Days falls short. Again, this has nothing to do with the principal players, who immerge themselves in their roles with fervour. It has much more to do with the leaden construction and predictable approach.
Build up comprises of Molly being combative on her mother’s porch. Audiences are given little opportunity to empathise with either woman, as this embittered dynamic is broken almost beyond repair. Their relentless bickering in the midst of home rehab becomes grating, because audiences have no way in. Peripheral characters, including Molly’s ex-husband and children feel like plot devices rather than organic elements. Meaning that emotional investment is difficult, despite the topic under discussion.
Four Good Days feels like a wasted opportunity, with some solid performances shaped around an insubstantial story. There is no doubting the conviction of everyone involved, but this really feels like a missed opportunity.
Four Good Days will be in theatres from April 30th.