The Family Tree

A spoiler light review of The Family Tree should begin with tone, because Vivi Friedman understands exactly how this comedy ought to feel. The Family Tree gains early credibility from Rachael Leigh Cook, whose presence is balanced by the different rhythm of Hope Davis. The foundation of The Family Tree can be stated simply: A mother and wife stricken with memory loss allows a dysfunctional family a second chance at harmony and happiness. Within its 1h 27m running time, The Family Tree reveals both the benefits and the limits of that disciplined approach.

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Vivi Friedman gives The Family Tree a directorial line that is uncertain about tone and dramatic emphasis from its opening promise to its final movement. The staging of The Family Tree is strongest when Vivi Friedman allows motivation to determine pace instead of reversing that priority. Viewed as a complete piece, The Family Tree confirms that isolated moments suggest a more compelling version across most of the running time. A tighter version of The Family Tree would address how events happen without gathering enough dramatic force, yet the surrounding work remains persuasive.

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The Family Tree finds additional purpose in its examination of embarrassment, status and the gap between confidence and reality. Through the performance of Rachael Leigh Cook, The Family Tree makes that examination feel personal before it becomes broadly symbolic. The idea of the central character repeatedly returns The Family Tree to the cost behind its more visible developments. Vivi Friedman is most persuasive when The Family Tree allows the theme to emerge from an uncomfortable choice rather than polished dialogue.

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The craft of The Family Tree is defined by performer rhythm, supported by performer rhythm rather than overwhelmed by decoration. Driving Lessons gives The Family Tree a production framework in which comic timing built around character can remain connected to story. Made from a Australia production context, The Family Tree uses setting and design to clarify mood before dialogue has to explain it. The technical finish of The Family Tree works because image, sound and editing appear to be serving the same immediate purpose.

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The plot of The Family Tree is built around the uneasy relationship between the central character and an important relationship. For Rachael Leigh Cook, that relationship gives The Family Tree an emotional objective stronger than simple forward motion. The screenplay associated with Mark Lisson lets a difficult choice reshape the direction of The Family Tree in stages. Although the treatment of the wider conflict could be sharper, The Family Tree never entirely loses the thread established at the beginning.

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What keeps The Family Tree emotionally readable is Rachael Leigh Cook, whose choices establish a consistent point of view. In scenes with Hope Davis, The Family Tree gains tension from two performers refusing to produce the same kind of energy. Dermot Mulroney contributes a separate rhythm to The Family Tree and helps the supporting material feel less purely functional. The direction by Vivi Friedman gives the cast of The Family Tree room to connect the quieter beats with the larger ones.

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Overall, The Family Tree amounts to a film for only the most curious members of its likely audience and should suit comedy fans who respond to personality and timing. The combination of Rachael Leigh Cook, Vivi Friedman and performer rhythm gives The Family Tree a specific identity. Although events happen without gathering enough dramatic force in The Family Tree, the film recovers through craft and committed performance. For the audience it understands, The Family Tree offers enough character to remain worthwhile after the immediate plot has faded.