Maggies Plan

I think I got tricked into watching this movie by looking at the cast. There are undeniably good actors and actresses in this movie but that doesn't mean a certainty for success. On the contrary, it turned out to be a borefest. I couldn't wait for the end credits to appear. As for the comedy level I had two or three small grins, so nothing that will stay memorable for the rest of my life, like some other good comedies sometimes do. If you like endless debating about something dramatic like couples arguing about nothing then you might enjoy this. I can't believe I wasted my time with this one as it was clearly going to be really boring after only five minutes.

The eternal triangle and the romantic comedy have been soulmates forever but how many ways you can tell the same old love story? The era of female empowerment and emotional recycling is upon us, so it is refreshing to see Maggie's Plan (2016) take an old story formula and update it with offbeat humour centred on modern marriage. Contemporary lifestyle choices such as wanting a baby but not a man or handing a used lover back to a former owner are just some of the scenarios played out in this intelligent and delightful rom-rom.

The simple triangular plot pivots on independent-minded Maggie (Greta Gerwig), an over-controller who loves falling in love but cannot keep a relationship longer than six months. Wanting a baby without the strings, she arranges for a sperm donor just as she meets John (Ethan Hawke), an insecure academic who is emasculated by the stellar career of his imperious wife Georgette (Julianne Moore). John's need for constant mothering is no longer fulfilled by the dynamic Georgette, so Maggie and John inevitably pair up and one corner of the triangle disappears. Three years later, Maggie is over the needy John and his permanently incomplete 'great novel' so she hatches a plan to reunite John with Georgette. A clever script laced with tangled textual barbs like "ficto-critical anthropology" (Google it) and one-liners like "nobody unpacks commodity fetishism like you do" are rapid-fire and hilarious send-ups of the pretentious world of academe. It is at this level that the film shines brightest: not with belly laughs or madcap comedy, but through a whimsical lens focused on the world of intelligent people who think they control the ebbs and flows of the uncontrollable.

The acting performances are all top-shelf. Julianne Moore plays the understated dominatrix with a hilarious deadpan Danish accent, and Ethan Hawke is perfect as the hapless male out-powered by the females in his life. The standout performance is Greta Gerwig whose big doe-eyed innocence and naivety about the ways of the world make her scheming utterly forgivable. While the story has a predictable narrative arc, the dialogue is richly satirical, funny and totally female-centered. It is also an entertaining post-feminist comedy about sex and marriage which imagines a future where males are only needed for sperm and are then recycled amongst whoever will tolerate their innate weaknesses.

Here New York singleton Maggie is played by Greta Gerwig, an actress who can be funny and serious, pretty and plain, switching from one to the other in seconds. Her original plan is to have a baby through a sperm donor, although later in the movie she conceives (sorry for the pun) another plan involving her husband, self-absorbed academic John (Ethan Hawke in a classic verbose role), and his ex-wife, the Danish ambitious academic Georgette (the ever-able Juliette Moore). The moral of the story is that our plans often don't work out as we expect and, even when they do, it might not actually be because of us.

I think this is an under-rated movie with interesting characters and real charm. There are no action sequences or dramatic conflicts, but it is quietly engaging and insightful. Rebecaa Miller wrote and directed it from the novel by Karen Rinaldi and the most intriguing relationship is between Maggie and Georgette, so some will be tempted to dismiss it as a woman's film, but I recommend it to anyone who wants something a bit more lifelike and thoughtful compared to the more traditional rom-com.

A narcissistic man-child falls for a frumpy, Midwestern stereotype, leaves his German shrew-wife, then vacillates back and forth pointlessly.

Bonus: a foreigner selling artisanal pickles to Whole Foods for distribution, and a child attending "Eurythmics" class. I honestly can't tell if this is all an elaborate trolling effort.

The only humor in this "comedy" are a few bitter lines from the comedians.

I would write more, but honestly, there's nothing more to say. It's an almost empty film. My interest in the actors was the only thing compelling me to watch.

Woody Allen by way of Noah Baumbach is as close as I can come to give you an idea of how amusing, smart, and awkward Rebecca Miller's Maggie's Plan is. But, then, the adjectives as well describe indie-fav Greta Gerwig playing Maggie, whose plan to send her husband back to his ex wife reveals the layers that make Maggie one of the most complex romantic heroines in film.

Having fallen in love with hot "ficto-critical anthropologist" John (Ethan Hawke) at The New School, where she works as a career counselor for grad students, Maggie in her quietly innocent but manipulative way has a child with him after his divorce and their marriage. One of the comedic elements is her previous plan to have an artificial insemination from hippy pickle entrepreneur Guy (Travis Fimmel). She has no need to produce the baby in a normal way, an eccentricity never explained but for me felt to be another facet of her quirky and honest personality.

Although you can see the goofy and formulaic elements, underneath is Maggie's genuine wish to have a normal love, a situation not really meant for her given her wacky judgment and clueless orientation. Throughout the wryly wacky plot are numerous elements of truth in modern culture: having a child purposely without father involved; career taking precedence over family (Julienne Moore as high-powered ex-wife academic); step kids as complicating elements; and so on.

Writer/director Miller is deft at playing the elements off each other to make it feel as if all of this confusion is just part of a larger plan. Maggie, as a self-confessed meddler, goes through a labor-intensive series of challenges that go beyond the clichés of the romantic comedy formula. Although the accumulation of challenges may seem too many, each one resonates with a human predicament common to us all.

It's romantic comedy with brains and heart. So human.