The Intern

The Intern arrives as a comedy directed by Nancy Meyers, and its first strength is a clear sense of purpose. Robert De Niro and Anne Hathaway give The Intern a recognisable human centre before the larger mechanics take over. The central situation in The Intern comes into focus without a long explanation: Seventy year old widower Ben Whittaker has discovered that retirement isn't all it's cracked up to be. Across its 2h 1m running time, Nancy Meyers keeps The Intern engaging in bursts but unable to maintain the same control.

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As director of The Intern, Nancy Meyers proves engaging in bursts but unable to maintain the same control in the transitions between intimate material and larger demands. A strong scene in The Intern often begins with a modest detail before Nancy Meyers lets its meaning expand. For The Intern, worthwhile ideas compete with an uneven structure because the central tone remains visible even during busy passages. The weakness in The Intern is that the pace alternates between hurry and drift, although Nancy Meyers usually finds the original rhythm again.

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The Intern uses its comedy framework to consider embarrassment, status and the gap between confidence and reality. For the character played by Robert De Niro, that idea gives The Intern stakes beyond the next immediate obstacle. The recurring pressure of Ben Whittaker prevents the theme in The Intern from feeling like decoration added after the story. Nancy Meyers makes The Intern more thoughtful whenever the implications remain inside action and reaction.

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Performance is the clearest human asset in The Intern, beginning with the committed centre provided by Robert De Niro. Anne Hathaway keeps The Intern from settling into one emotional register by approaching the material from another angle. The presence of Rene Russo gives the surrounding world of The Intern additional texture without distracting from the main line. When Nancy Meyers holds on a reaction, The Intern communicates more efficiently than another explanatory exchange could manage.

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The narrative of The Intern works from a simple but productive collision between Seventy and Ben Whittaker. Through Robert De Niro, The Intern keeps that premise rooted in a reaction the audience can understand. Nancy Meyers introduces Seizing at a useful point, giving The Intern a reason to change pace without abandoning its emotional line. The handling of Jules Ostin is not equally fresh, yet The Intern usually earns attention through clarity rather than surprise alone.

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The Intern gains much of its identity from well judged reactions, a choice that makes the world readable as well as attractive. The contribution of Waverly Films allows The Intern to combine well judged reactions with a consistent visual language. Within its United States setting, The Intern makes particularly good use of performer rhythm when the story needs to change scale. Sound and editing preserve the personality of The Intern by supporting detail instead of announcing every intended response.

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The lasting judgement on The Intern is a qualified recommendation for comedy fans who respond to personality and timing. The Intern earns that response through the focus of Robert De Niro, the contribution of well judged reactions and the direction of Nancy Meyers. It remains true that the pace alternates between hurry and drift during The Intern, which keeps enthusiasm measured. Still, The Intern understands the experience it wants to create and communicates that intention with recognisable personality.