Margot and her son Claude decide to visit her sister Pauline after she announces that she is marrying less-than-impressive Malcolm. In short order, the storm the sisters create leaves behind a a mess of thrashed relationships and exposed family secrets.
Based on the true childhood experiences of Noah Baumbach and his brother, The Squid and the Whale tells the touching story of two young boys dealing with their parents' divorce in Brooklyn in the 1980s.
Two bumbling store clerks inadvertently erase the footage from all of the tapes in their video rental store. In order to keep the business running, they re-shoot every film in the store with their own camera, with a budget of zero dollars.
A slice of family life: sisters, husbands, children, history, secrets, jealousies. Margot and her teen son, Claude, travel from Manhattan to her family's Long Island home, occupied by sister Pauline, Pauline's daughter, and Malcolm, the slacker Pauline will marry outdoors that week under a tree neighbors want removed. Backbiting marks family discussion, particularly between the sisters and in Margot's cutting remarks to Claude. Pauline tells Margot a secret that Margot promptly tells Claude. Margot dislikes Malcolm and undermines him. She also has marital problems and a lover nearby. People are cruel, inside and outside their families. Is there a refuge for Margot or for Pauline? Written by
Nicole Kidman's hair color repeatedly switches back and forth between dark brown and lighter reddish-brown. See more »
Paul apologizes for not coming. She's still getting the house ready.
I'm sorry it was such short notice.
I don't care. Paul's frantic, but I don't give a shit. Oh, and Ingrid wants me to tell you that she made us all bracelets.
No, I said we should wait.
I thought you asked me to tell them. Anyways, I got Knicks colours.
They're not Knicks colours!
It's beautiful, Ingrid.
Where's your dad and Josh?
They might come later.
Josh's spring break is next week, and then Jim teaches through Friday. ...
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A typical conversation from "Margot at the Wedding" might go something like this:
"You were always so pretty." "WERE pretty? Does that mean you don't think I'm pretty anymore?" "Why are you responding with all of this passive aggressive hostility? I was just trying to pay you a compliment." "You know, I was noticing earlier today that you have really bad body odor. Does that ever bother you?" "You're such a bitch."
And that's it. Scene after scene of dialogue like this, spoken by one unlikable character to another unlikable character, until you feel like the only possible way for the movie to end satisfactorily is for all of the characters to be impaled on something very sharp and preferably jagged.
Noah Baumbach made an auspicious debut with "The Squid and the Whale," but with "Margot at the Wedding" he makes the mistake of assuming that one person's morbid neuroses are inherently interesting to another. We don't learn anything about these characters, we don't care about them, and we don't like them. You tell me -- do you want to sit through 90 minutes of that?
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