In her directorial debut Eleanor GreatScarlett Johansson attempts to shape the portrait of aging, loneliness and sadness in America through her unhappy experience of the protagonist of the same name, played by the reliable and interesting June June Squibb (Thema). You want Eleanor Great Because of its fascinating leadership and compelling premise (the script was written by Tory Kamen) succeeded, but it struggled to find its groove. The film lingers between comic clips and more dramatic rhythms, and while Johnson proves a capable Helmer, it's not enough to overcome some dazzling tone imbalances. Nevertheless, at least, Eleanor Great Crushing out other studios in existing IP from sequels, prequels, and other studios provides a character-driven breakthrough.

The film premiered on the unsolicited sidebar that enjoys prestige, which makes me a special choice for Cannes. The more suitable venue for this feel-good movie might be Sundance or Tiff. Its advantages are reminiscent of the 90s alto comedy drama - charismatic leadership, relatively powerful auxiliary actors, and a comforting story with incredible predictability and mandatory pauses.

The film follows Eleanor Morgenstein (Squibb), a 94-year-old woman, forced to return to New York to move in with her daughter Lisa (Jessica Hecht) as her best friend Bessie (Rita Zohar) died unexpectedly. Transition is difficult when the non-ruler realizes that no one has time to give her. In search of a community, Eleanor searched for events at her local Jewish community center, where her daughter signed her to attend a singing class. Embarrassing misunderstandings make her a group for Holocaust survivors, rather than correcting mistakes, but taking the Holocaust survival story of her dead best friend as herself. This makes Eleanor a friend of Erin Kellyman, a 19-year-old journalism student who wants to write about Eleanor's experience.

This is a bold premise, which could have been better. Eleanor Great Attributes suspicious behavior of the nominal character to sadness and isolation. However, this framework is not premature or powerfully persuasive, so the potentially fascinating and somber research by older women seeking connections after the death of her close friend becomes an unbalanced, sometimes a chronicle of a rather weird program. In the movie, a stronger, more meaningful point involves Eleanor preparing for a second age for Bat Lilly, which she had never had as a child, and building a friendship with Nina.

Eleanor Great The beginning is a great sequence to build together the lives of Eleanor and Bescy. The two women have been friends for decades and decided to share a small house in Florida after their respective husbands died. Their routine includes early morning chats on coffee, running to the grocery store every week, and watching their favorite anchor Roger (Chiwetel Ejiofor) in the evening news.

Johnson's instructions are here assured that the intimacy between the two older women is established, and this cute eye is usually retained in stories about the girlhood. These and some other moments in the movie remind me of how Sarah Friedland captured her adult life in her amazing debut Familiar touch. Cooperation with DP Hélène Louvart (Chime), Johnson, like Friedland, represents the elders, the same vibrant chapter as adults.

When Bescy passed away, Eleanor was destroyed and felt unstable. More scenes of the non-ruler’s struggle with the reality of mourning reinforce the film by providing a more persuasive basis for her later decisions. Instead, Johansson moved quickly, and when we know Eleanor returned to New York to live with her daughter and grandson Max (Will Price). She soon realized that neither Lisa was teenager Max, who had divorced, brought her much time.

Eleanor entered the Holocaust Survivor Group completely unexpectedly, but she didn't address the misunderstanding because she prefers the community in the group over the theater adults of singing grade Lisa. In a momentary decision, she takes Bescy's biography as her own when prompted to introduce herself.

Nina is a journalist looking for her next story, and his fake narrative of Eleanor deeply touches the narrative about escaping from Poland and coming to the United States, and despite Eleanor's initial refusal to Nina's plead for profile, the perseverance of the cub journalist is paid off. The two have formed a sweet friendship and I hope there is more time to come to Gastadt. Nina's mother recently passed away, her father (Eleanor doesn't know the news anchor, Roger), whose own grief is too focused on her, so her relationship with Eleanor becomes a real source of comfort.

Comedy Elements Eleanor Great It works mainly because Squibb's performance is sometimes sometimes, sometimes accidental, slightly domineering mother. At 94, her character is still relatively independent and sharp, and it's interesting to watch her snapshots of other hypothetical young people.

Things start to shaky as Johansson dials the comedy for a more serious turn. This shift is bumpy in part because the performance doesn’t match the story’s new bet. Eleanor's dishonesty put her in a more volatile situation, including having to talk to journalists about ethical storytelling and local news channels' interest in airing about her segments.

The introduction of extra threads about Roger and Nina’s relationship was sweet, but there wasn’t much time to develop, which only highlighted the lack of Ejiofor and Kellyman. These new plots are messy Eleanor Great Condensation may be a better choice. Most disappointingly, we never really had a good feeling about Eleanor’s indoor life, which means that the ambitions of the film will eventually feel imperfect.