The Pretty One

A spoiler light review of The Pretty One should begin with tone, because Jenée LaMarque understands exactly how this comedy ought to feel. The Pretty One gains early credibility from Zoe Kazan, whose presence is balanced by the different rhythm of Jake Johnson. The foundation of The Pretty One can be stated simply: A tragedy presents Laurel with the chance to reinvent herself as her idolized twin sister, Audrey. Within its 1h 30m running time, The Pretty One reveals both the benefits and the limits of that disciplined approach.

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The Pretty One finds additional purpose in its examination of embarrassment, status and the gap between confidence and reality. Through the performance of Zoe Kazan, The Pretty One makes that examination feel personal before it becomes broadly symbolic. The idea of Laurel repeatedly returns The Pretty One to the cost behind its more visible developments. Jenée LaMarque is most persuasive when The Pretty One allows the theme to emerge from an uncomfortable choice rather than polished dialogue.

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Jenée LaMarque gives The Pretty One a directorial line that is engaging in bursts but unable to maintain the same control from its opening promise to its final movement. The staging of The Pretty One is strongest when Jenée LaMarque allows motivation to determine pace instead of reversing that priority. Viewed as a complete piece, The Pretty One confirms that worthwhile ideas compete with an uneven structure across most of the running time. A tighter version of The Pretty One would address how the pace alternates between hurry and drift, yet the surrounding work remains persuasive.

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Zoe Kazan gives The Pretty One its most dependable performance, finding a clear emotional intention beneath the plot. Opposite Zoe Kazan, Jake Johnson brings The Pretty One a contrasting pace that prevents the central relationship from feeling flat. Ron Livingston widens the ensemble of The Pretty One through reactions that suggest a life beyond the immediate scene. Jenée LaMarque serves the cast of The Pretty One best when a look or pause is allowed to finish before the story moves on.

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The plot of The Pretty One is built around the uneasy relationship between Laurel and Audrey. For Zoe Kazan, that relationship gives The Pretty One an emotional objective stronger than simple forward motion. The screenplay associated with Jenée LaMarque lets the central character reshape the direction of The Pretty One in stages. Although the treatment of an important relationship could be sharper, The Pretty One never entirely loses the thread established at the beginning.

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The most useful technical choice in The Pretty One is well judged reactions, because it helps the audience understand both space and mood. Provenance Pictures frames The Pretty One through well judged reactions without letting surface finish replace character. Drawing on its United States background, The Pretty One uses performer rhythm to give familiar material a more specific texture. Cinematography, sound and editing meet effectively in The Pretty One whenever a sequence must feel large without losing its human scale.

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For comedy fans who respond to personality and timing, The Pretty One is ultimately a qualified recommendation. Its most persuasive combination in The Pretty One brings Zoe Kazan together with performer rhythm under the direction of Jenée LaMarque. The fact that the pace alternates between hurry and drift prevents The Pretty One from being entirely seamless. Even with that reservation, The Pretty One has a clear point of view and enough genuine feeling to justify the journey.