Susan Granger’s review of “Junebug” (Sony Pictures Classics)
Often the little “gems” are overshadowed by big-budget, highly publicized pictures, so don’t miss this tale of a sophisticated art dealer’s introduction to the small-town Southern way of life.
When newlywed Madeline (Embeth Davidtz), a British diplomat’s daughter, travels from Chicago to the rural hill country of North Carolina to pursue a local, self-taught painter (David Wark) for her “outsider art” gallery, she takes this road-trip opportunity to meet her husband George’s (Alessandro Nivola) family, who happen to be the eccentric artist’s neighbors. There’s his flinty, judgmental mother Peg (Celia Watson), his dour, taciturn father Eugene (Scott Wilson) and his sullen, resentful, twentysomething brother Johnny (Benjamin McKenzie of “The O.C.”) who, although married, still lives at home, studying for his high school equivalency certificate. They’re superficially hospitable but hardly welcoming, except Johnny’s talkative, very pregnant wife Ashley (Amy Adams) who plans to name her baby “Junebug,” if it’s a girl.
Written by Angus MacLachlan, this gentle, contemplative drama marks the directing debut of New York filmmaker Phil Morrison. Both are North Carolinians, explaining why the authenticity of the city vs. country culture-clash rings true, as does the poignant title, symbolizing things that are not often seen and rarely appreciated. The ensemble performs superbly, yet it’s Embeth Davidtz’ aggressive condescension and Amy Adams’ earnest guilelessness that remain most memorable. Adams’ best line is, “God loves you just the way you are but too much to let you stay that way.” Credit Yo La Tengo for an evocative score. On the Granger Movie Gauge of 1 to 10, “Junebug” is a subtle, bittersweet 8, filled with the joy and sadness that comprise all of our lives.
