Family stars Taylor Schilling as Kate, a New Jersey hedge fund manager, who can no longer ignore her family when she is the only person who can take care of her niece, which she is uniquely ill equipped to do, but as her obligation extends longer than initially expected, she is forced to reflect on the choices that she made and figure out what her real goals should be. Don’t worry. It is not one of those horrible movies where she completely changes who she is, abandons her job, falls into the perfect romantic relationship and has a kid by the end of the film. Puke!
I do not have many regrets in life, but one of them is not immediately seeing Family when it arrived in theaters the weekend of April 26, 2019. It came in fourth on my list of movies that I wanted to see that weekend and was only that high because I had already seen Avengers: Endgame on its opening Thursday night. I was drawn to it because it had a first time woman director, Laura Steinel, and prominently headlined Kate McKinnon, an unhinged comedic genius in the cast, but ultimately it did not happen because I got sick, the location was far away from my home and involved a kid in the plot. I do not think that it lasted in theaters longer than a week. I prioritized solid documentaries.
When I saw Family over three months later as soon as it was available for home viewing, I realized that I was unquestionably wrong. I have since repented by buying the film on Amazon for $14.99, not renting, which was a cheaper option because I must have access to this film at all times. I feel as if this movie penetrated my soul. For a first-time director, Steinel is a really funny director. There is a hilarious, well-shot montage when she is left alone in her brother’s house and stares in horror at her quotidian surroundings, but then the camera simply shifts focus, and we immediately understand why she is disgusted. She is really deft at giving the right amount of space for the actors to take a beat so we can judge them then shift focus using her visual technique (editing rhythm, camera work) to empathize with the character. She allows the scenes to breath and more importantly knows how to make us wait for a punch line, which we may not get until many scenes later just when we were about to forget about a plot point or a casual throwaway line. Even the choice of shot and placement of the actors is thoughtful and enhances the humor. Steinel really knew to consistently deliver great payoffs.
Family is also well written: the actual lines, the individual character arcs and the overall narrative. The movie gives the real impression that every person in the film has a life outside of each other and the protagonist. It feels deliciously realistic, spontaneous and unpolished, which is hard work for scripted, probably repeatedly shot and rehearsed scenes. If I was forced to pick my favorite aspect of this script, it is how there are no likeable or necessarily relatable characters, and I found myself relating to them or hating them while completely understanding why another character would be aggravated by the character or love them. It is especially rare in films with women protagonists, especially when children are involved, for people not to suddenly fall into cliché perfection. By the end of the film, when people have progressed in their emotional journey, that character has only moderately improved or is clearly going down a destructive unsatisfying path. There is no pat redemption. The movie actually depicts unnoticed moments of potential connection. Awkward people remain socially odd. It is brilliant. As a result, I am willing to sign the rarest of waivers on Steinel choosing to begin the film with the how we got here device and a suddenly abandoned narration. It is worth it.
I loved Family’s protagonist because I saw A LOT of myself in her. When she does not want to do something, she just says no and does not care about the social norms. She does not want children, but enjoys interacting with them, and her interaction style is eerily similar to mine—they are people so address them as such. They are not all great. I considered making this review just a string of my favorite quotes from the movie. The context for the following question addressed to Kate about life after growing up, “But then everything got better, and you’re fine now?” “Mmmmmm. No. No, I wouldn’t say that. I’m still not great in group settings. I have a habit of saying things that everyone is thinking, but then someone is always like, ‘Why did you say that?’ So I’m usually in this place where I hate myself, but I still think that I’m better than everybody else.” I adored that as clearly as inept as she is, she also brings some gifts to the table that her family needs. She is opinionated and comfortable with recognizing and accepting people and situations instead of superimposing her expectations of a situation.
Oh by the way, Family has a double meaning. There are Juggalos. Regardless of whether or not you know who Juggalos are, just go with it. Kate did not know either. You will be fine. Have the unfamiliar experience with the characters-first impressions, shock, reconsidering, etc. It is probably the cheesiest moment in the film, but considering how it is, I will allow it. Also if it gives Natasha Lyonne an opportunity to make a cameo, then more Juggalos please.
Family’s whole cast is pitch perfect. I was not familiar with Schilling, but I did recognize her after seeing her in a thankless role in The Public and was so happy that she got a meatier role that gave her an opportunity to show some fearless range. I usually am not a fan of kid actors, but Bryn Vale was a dream. She became her character. Schilling and Vale’s work cannot entirely be scripted. There is some brilliant, improvisational physical humor with them and Brian Tyree Henry gets to join in the fun. A movie is taking it to the next level if McKinnon plays the straight man, other actors are responsible for keeping the balloon afloat, and it is the right decision. Blair Beeken, Kate’s secretary, also gets some nice moments where she gets to infuse her own spin on a character while she tries to coach Kate on how to respond to her sister-in-law.
On a personal note, I would like to thank Family for clearly being team cat while keeping jokes about cats’ welfare without ruining the party. I did not suddenly spiral into concern. All the cats were clearly happy in this film.
I would like to offer my sincerest apologies to Steinel, the crew and cast for not supporting Family in theaters. If this global pandemic ever ends, movie theaters exist and I survive and can afford to see films in theaters, I promise to see Steinel’s next film in theaters. Please do not make my mistake and immediately see this film. There is profanity, slight violence.