Commentaires des utilisateurs

Greetings again from the darkness. Mother-Daughter relationships have been the theme for many fine movies throughout various genres over the years. Some of the best that come to mind include: LADY BIRD (2017), THE FLORIDA PROJECT (2017), MAMMA MIA! (2008), LITTLE MISS SUNSHINE (2006), THE JOY LUCK CLUB (1993), TERMS OF ENDEARMENT (1983), MOMMIE DEAREST (1981), CARRIE (1976), and going back many years, the classic MILDRED PIERCE (1945). The common thread here is the complicated, yet unbreakable bond between mother and daughter. Writer-director Annie Baker, who won a 2014 Pulitzer Prize for her play "The Flick", has managed to create a film with a mother-daughter relationship that fits right into the above list, while also bringing a unique perspective.

Eleven-year-old Lacy sneaks out of her summer camp cabin, and through the darkness makes her way to the office payphone. The first line of dialogue we hear is Lacy (Zoe Ziegler) saying, "I'm going to kill myself if you don't come get me." The next morning, mother Janet (Julianne Nicholson) arrives and a packed up Lacy discovers she actually had made a friend, but since it's too late to remain at camp, she questions why mom had to bring boyfriend Wayne (Will Patton) along. "Wayne" is the first chapter of the story, but as we learn, single mom Janet has had a revolving door of lovers and friends. It's 1991, the summer between fifth and sixth grade for Lacy, and as an outcast in her age group, she desperately wants to be close to her mom.

Their rural home is surrounded by nature, and Janet runs her acupuncture business while Lacy hikes to piano lessons ... when she's not asking if she can sleep in mom's bed. Wayne doesn't last long, and Chapter 2 "Regina" bounds in next, thanks to a local art colony performance that allows old friends to reconnect. Regina (Sophie Okonedo) appreciates the free room and has some nice moments with Lacy - except for the shampoo and long stints in the shared bathroom. When Regina moves on, Chapter 3's "Avi" (Elias Koteas) begins getting close to Janet. By now we understand that everyone loves Janet, and that's an emotional hurdle for young Lacy.

The adults are a bit tiresome, and Janet even confesses that she worries about her parenting approach. Yet, those concerns don't impact her free-wheeling ways, and we see she's as lonely and broken as her daughter. Lacy says, "I don't have any friends", and we don't doubt it. As an outsider she's very observant, if not a bit depressed. Julianne Nicholson is exceptional as always, and first-timer Zoe Ziegler is a rare find. We can only hope she finds her way into a Wes Anderson movie before she grows out of this stage. Cinematographer Maria von Hausswolff has a style that perfectly complements director Baker's slow pacing and the unusual setting. As the summer turns to "The Fall", a local square dance provides the perfect ending ... and reinforces all that we've learned about mother and daughter. Another little gem from A24.

In select theaters on June 21, 2024 and nationwide on June 28, 2024.

A smallish drama from last year starring Julianne Nicholson & newcomer Zoe Ziegler, playing a mother/daughter navigating the lazy days of summer during the early 90's. Living in a cozy cabin in the woods, the pair while away the days waiting for the new school year to start while also taking care of their romantic needs; mom seems to be unlucky in love as her conveyor belt of lovers (which include Will Patton & Elias Koteas) has left her unsatisfied while Ziegler, seemingly wise beyond the years, does things her own way w/her mom's begrudging acceptance. Not much monumentally happens in this slow burn slice of life as it just exists & we, the audience, just wallow in it which charms in tiny doses in writer/director Annie Baker's effort making this feel like a documentary then something scripted.

I mean, if I lean any closer in the theater to hear what you're showing and saying to me, Most Quiet and Tender Little Mother-Daughter How I Spent My Not-Much Summer Vacation Movie of the Last (checks watch) 10 Years, I think I may just fall head-first through the screen and poke out the other side!

The 'Not-Much' may not be totally fair to say, as there are moments and events that are happening in Janet Planet, but why it feels like the 'Not-Much' is because it is a film punctuated practically solely by Life's Little Moments. At the same time, what makes the film so unique, even special, is that writer/director Annie Baker is giving us a child-hood perspective that is morose, possibly depressed, but it's at a low key. The whole film is so at a low key that if you were outside you'd need a shovel to dig into the ground to find where the film is presenting its emotional bandwidth.

Or... that may also not be fair since this is about ultimately how a daughter and a mother have their own problems in life, for Lacy in just connecting to those around her (except for the one time she gets a friend, all too short lived but still a vibrant and alive few minutes both in a lifetime and in the movie), and for Janet with her love lifes with men and women equally. What makes these relationships so unique is how everything, from the shots (sometimes withdrawn so we can see much of the forest and trees and peaceful woods around them and Lacy at one point lying on the ground to where she wants to get away from us as much as her life) to the delivery is, if not at a tender whisper, then certainly (rarely) wirh a raised voice.

I'm not familiar with Baker's plays, but I do think I can respond to and meet a filmmaker halfway when they are creating a set of characters who we don't usually see in not only modern American film but even in other independent cinema throughout the world (maybe the closest to the ultra-delicate feeling here is Wenders and Perfect Days, or some of Kelly Reichardt's work, but even then there's a weirder tone at points and some humor to elevate things), and I like the act of leaning in to, in short, feel what the movie is putting between the lines. This is a spare, deceptively small drama because is about how nothing in life is small when you are attuned to nuances.

For example, the dynamic with Janet and Regina (Okonedo, easily my favorite here for the warmth and uncertainty and nuances even compared to Nicholson, who is always lovely); we never fully know how they met or even if they are trying to fully be a couple together at this time. When they are together though, notice how much Baker is moving from the sort of "I'm sitting in the back trying to figure you out" shots that Lacy has with Wayne (Will Patton! Love that guy) so it is more immediate feeling, but at the same time there are more wounds and fractures in their bond, and that perhaps Lacy can intuit but still isn't fully mature enough to understand (so we know she hears them as they have what amounts to a "heated" argument midway through, which is at... normal volume for most of us but for the film it's like "whoa").

There's a lot of interesting choices to how Lacy looks and acts here that are so minute that I also get why if you come to this not ready for something that is quiet and patient and (I won't use it but maybe others will, it is a "type") Slow, it may frustrate because of how long it takes till... wait, by the end where are Lacy and Janet? She has the slightest expression as she watches all that dancing, and if she doesn't get up then she may still some day, and that's enough.

If there is something I wish could've been explored more it was with Avi, played by such a soft-spoken Elias Koteas that it is rather brilliant (the kind of man where because of his soft tone it takes a moment and strong critical thinking skills to understand what he says and preaches is a bunch of crap). By the time he is there and this Janet-described Cult leader is making moves on her and influenced Janet to do deep-breathing Hippie exercises, he is... gone again, and not in a way that feels satisfyingly mysterious rather that he had to leave the set.

Janet Planet, in other words, is involving if you get on its wavelength about a young girl who (with a couple of exceptions) keeps the same even-keeled vocal tone and yet is affected by something or many things but holds them inside the shell of an average kid that plays piano and sometimes sits quietly with a wind up music box.

There is a nice poetry to its world view and presentation, while at the same time it never transfixed me or made me feel like I'd seen something so unique that I'd need to think about it for days or weeks (like again Wenders or Reichardt at their most keen). It unfolds closer to a good book than a typical script, which I don't mean as a put down, and if nothing else it's nice to have one of these truly feel written (with captivating and real dialog, especially about sexual preference at one point) rather than so loose and improvised that it loses itself completely.

This isn't a terrible movie, but is lacking in originality. I think that, given time, director Annie Baker will find her own voice instead of trying to be Greta Gerwig. If she works with Zoe Ziegler again, she'll hopefully stop trying to turn her into the new young Saoirse Ronan, too, and let Zoe act in her own way, as I suspect she can.

The basic plot here has been done, in various ways, in many, many far better movies. Baker tried to stuff too much in here, too. The subplot, if you can call it that, about the mother was incomplete and distracted from what the young girl was going through as she was dealing with the changes she was experiencing. Sure, the relation between the mother and daughter was integral to the film, but seemed incomplete, never resolved. It was never really examined in the depth it could have been. That might have been due to the slow pace of the movie. Too little happened over too much time.

The men in the movie were never really fleshed out, either. Most obvious was "Wayne", who was sort of a good guy, but at the same time, not. We never really got to know anything about him, other than he had a nice daughter.

By sheer coincidence I just saw "Are You There God? It's Me, Margaret." a couple of days before I saw "Janet Planet". One could argue they are wildly different movies, but at the same time, they do cover similar topics. "Are You There God? It's Me, Margaret." is far better, more entertaining, and more realistic. It's fun. "Janet Planet" is dull in comparison.

But the biggest and most obvious comparison that jumps out at you as you watch "Janet Planet" would be between it and "Lady Bird". They are much more similar films than the one I mentioned above. And "Lady Bird" is much, much better.

As I said, this isn't a terrible film. I look forward to seeing what Baker can do in the future. I'm sure she has a much better film in her.

As an aside, the best song in the movie was "Miracle Man" by Bob Carpenter. Too bad it was associated with the "Wayne" character.

It was such a strange trip that seemed so narrow than it should have been. I feel like i liked the movie because of how strangely similar me and this little girl's life is. It does not match up perfectly but i got what she was going through enough to enjoy what I saw on the screen.

That is not the best review for a movie, because realistic the only thing the movie does have to it is a relatable factor because it does not come with much emotional backage to it. Although in fairness that could be the part of the film i did not relate to.

Honestly could not recommend this film to anyway. Although I was entertained, I fear that would just be me.

There are many glowing reviews of this movie, but mine is not. Although there is some dialogue in this movie, the experience would hardly be altered if the sound track were muted. And, in fact, segments of the dialogue are so low-pitched that one cannot make out what is said at all. No loss!

Basically we have here a mother who is looking for a companion that will make her feel she is living an adequate life. She is housing and feeding her daughter and herself and a revolving door of successive possible saviors, but she isn't finding personal salvation. Only initial ones that somehow are unsatisfactory after a brief trial.

Rave reviews underplay the monotony of the movie and its absence of progress toward satisfaction. She cohabits with believers in Buddha, in mysterious nature, in big bang but, frankly, neither herself nor her chosen teachers of a "way" exhibit any understanding.

We end up with the daughter having reached exactly these conclusions, along with the audience, so at least we part on the same page.

The movie invites the viewer to look for symbolism, an allegory. The mother's search is perhaps that of humanity, and her "saviors" perhaps the abortive philosophical attempts of mankind. The daughter is the hope that a new generation will be more successful. And, perhaps, the final square dance is the admission that, like a dance, life's meaning is that it can be enjoyable for the moment, even though it will end and will be forgotten.

My title for this review and my summary: not illuminating.

Janet Planet encourages the viewer to bask in the hazy summer afternoon feel of lounging and allowing observation to be a better tool than explanation. The writing is conversational and also sparse in terms of plotting, where you watch the characters lives unfold like a poem. There are few twists and turns but more contemplation and quiet celebration of independence, motherhood, and adolescence. There was a lot of wisdom in the casual observations, something that added to the realism of dialogue. Conversations you could have with a mother or a friend. Janet Planet has no big climactic moment, in fact I would call the ending it's climax and leaves you pretty clear on what the message was. It is a satisfying film if you are patient with it.

Janet Planet is the newest Aftersun, but rather focusing on the bonding ship of mother and daughter and the coming of age scenarios of adolescence and independence. Filled with colorful camerawork and good sound designs, the filmmaker is able to capture the sweet smell of the hazy summer atmosphere and the realistic nature characters sitting on the ground and environment. Provided with good performances from the cast, narrative choices, and themes around the concepts.

On it's core, it's realistic dialogue and conversations felt guanine with touches of humor and depression motions and with the good direction and approach, it worked. While it's narrative doesn't offer something very grand on it's themes and some of the structure and pacing does feel tad slow, it's overall impression worked.

There's a difference between minimalist and vacuous, and writer-director Annie Baker doesn't seem to know the difference. The playwright's debut feature, to put it simply, is boring, pretentious, meandering, unfocused and a big, fat waste of time. It's so dull, in fact, that the film makes the works of Kelly Reichardt appear utterly fascinating. Set in 1991 in the hippie-dominated arts community of rural western Massachusetts, the film follows the story (if one could even call it that) of middle-aged acupuncturist Janet (Julianne Nicholson) as she struggles to sort out what appears to have been a wayward, meandering life. And, as this tale plays out, it faithfully sticks to that course, too, an influence that's clearly wearing off on Janet's equally clueless, incessantly brooding, 8-year-old daughter, Lacy (newcomer Zoe Ziegler). Along the way, the duo experiences an array of cryptic, inconsequential involvements with others who are apparently fascinated with Janet (though goodness knows why), all of whom (Will Patton, Sophie Okonedo, Elias Koteas) are just as lost and boring as Janet is. So what's the point in all this? Who knows - and, not long into the picture, who cares? The raves that have been showered on this tedious, tiresome piece of filmmaking are a complete mystery to me, given its prevailing mundane nature and monotone performances by players who all sound like they've been shot up with sodium pentothal. Nicholson, in particular, comes across as so disengaged that she probably could have just as easily phoned in this performance (despite claims that this is the breakthrough role that she's supposedly been waiting for - please, watch her in "August: Osage County" (2013) instead). What's more, this picture probably has some of the worst sound quality I've ever seen in a contemporary production - so bad that I had to struggle to be able to hear what was being said (and I was sitting in the theater's second row). And the film's feeble attempts at trying to incorporate some kind of subtle, nuanced metaphysical undercurrent fail miserably as well, treated almost as if their inclusion was an afterthought. If you dare to consider giving this one a look, make sure you don't watch it when you're tired - you just might fall asleep soon after the opening credits roll, an understandable reaction, to be sure.

This film captures the tension between a single mother trying to live her life and have adult relationships and her daughter's disappointment in her mother's choices and her need to be desired. The action takes place over the course of several months and it's a beautiful depiction of adult indecision and searching in middle age as seen from the perspective of an inquisitive loving child who wants her mother to herself. The setting in the early 1990's in western Massachusetts gives the movie the feeling of an endless summer day yet there is plenty of action and impact. It's clear this summer will reverberate for Lacy and Janet in their lives, and clear that they will both continue to struggle to balance the intense love they have for each other with their other relationships.

While channel surfing I saw the title of this movie and thought it a superhero movie. I kept watching and got pulled into the life of Janet and Lacey. It's a strange little drama, and I found myself wanting to know what happens to this Mom and Daughter.

Good acting because you feel like you're actually watching them in their lives, like a strange reality show. I found myself thinking about some of the subjects, people and situations they are in. Janet lives her life just accepting anything life blows in and Lacey is almost like a life coach for her own Mother.

I found myself laughing at some things Lacey would do. Very imaginative little girl and you keep wanting to watch her in her world or planet with her Mother.

Either I completely missed the point or this was one of the worst films I've ever seen. I watch a lot of movies- I generally go for the offbeat indie type stuff. This movie was just boring. The characters weren't interesting, it wasn't emotional in any way, and there was no plot. Perhaps there was a point in there somewhere- maybe someone related to the characters based on their real experiences in life? I think that maybe the mom was supposed to have been portrayed as being self-absorbed and somewhat neglectful of her daughter. But if the audience really has to stretch this far to figure out what was going on, then IMO the auteur didn't really pass the test.

This film is a TON of privilege and self-absorption alongside some sweet and funny observations and good performances that deserved a better framework. Annie Baker's writing skills are not on trial. But as a writer-director she has a lot to learn. This is badly paced, overstuffed and mistimed. She is so enamored of her own connection to the story she forgot that an audience needs to connect with it too- including those who aren't already rabid fans. Sorry to be salty, but I wish she'd just made a short and at least tried to figure out visual storytelling before pouring every tedious childhood detail into an overlong nostalgia fest.

I loved Janet Planet! An understated sense of humor permeates the film, from the writing to the acting to the wardrobe to the cinematography to the editing. The slow pacing contributed to the fun, making me laugh out loud more than once.

Zoe Ziegler steals the show as Lacy. What an impressive performance for a pre-teen in a role where nuance means everything. Bravo!

The film does not follow a three act structure. It jumps all over, kind of like the mind of a young girl. And the film doesn't answer all the questions it poses either, kind of like real life. At the same time, Janet Planet did engage my imagination to correctly fill in many blanks, which to me is the best kind of film to watch.

Folks who want to appear discerning will praise this film sky-high but I defy any of them to actually explain to me what it's about or even what actually happens. The best I can manage is that this is a slice of life story about an eleven-year-old girl in some unclear recent era before cellphones who is extremely possessive of her hippy-dippy mom and then proceeds (I believe) to undermine three of her mom's adult relationships. There, I've made this movie sound a lot more interesting and coherent than it is. The acting is good and "realistic" but I disliked having to spend time with every single person on the screen.

This film was a complete disappointment. It lacked any emotion and was a video version of monotone. I had visions of an exciting coming of age film with some quirkiness to it with characters that would draw you in...that would make you emotionally vested in the plot. This film lacked any of that...it is mostly a disjointed attempt at something...not quite sure what because certain scenes have nothing to do with the attempted plot. Filmmakers...remember you must entertain your audience and draw them in and get them emotionally interested in the film and the characters. I actually found myself getting anxious and a bit angry towards the end because the film wouldn't end and kept going and going. Like I was a kidnap victim..

I am pretty baffled by the critical response to this movie, as I usually see pretty eye to eye with them. This thing was so dry and boring that I could hardly believe it. There is hardly any moment that breathed any kind of life or spark, apart from an admittedly sweet and nostalgic JC Penny's sequence - which felt more like it benefitted from just being a trip down memory lane than anything else.

There is hardly any story movement, and what few lines of dialogue can be heard are almost completely useless. Half of them are just the little girl asking basic questions which don't get answered. And lines like "I'm going to kill myself if you don't come pick me up" and "It's funny, every moment of my life is a living hell" are just obnoxious in this day and age.

Now granted, the AC was broken in our theater so that may have also had something to do with our discomfort. But we still walked out of the theater after 40 minutes. The filmmaker is talented I'm sure, but this one just wasn't for me at all.

11 year old Lacy is exceedingly close with her single mother Janet (Julianne Nicholson). It's 1991. She threatens suicide to get out of summer camp to be home with her mother.

This is not for everyone and I'm not sure that it is for me. This movie is slow. The scenes are long and extended. Some of it is like watching paint dry. You do get to live inside this world and with this family. There are some fun ideas like the cult. The men are mostly forgettable. In the end, this is just too slow for the general public. It takes a specific audience and I can't give this a generalized recommendation.

Apparently, someone , possibly several people, lost a bet and were forced to pay for this horrible film to be made. I understand why the people who made the film were happy to go through the motions. Someone learned the basics of how to write a script, someone learned the basic concepts of running the camera, blocking the scenes and directing the actors. It would take someone learning to deal with the business end of film production, payroll and production have to be handled and it takes doing it to learn to do it correctly. The fact that streaming services and movie theaters need product means that much more bad scripts are going to see the light of day. Maybe someday the work that was done on this project will pay off with something worth watching. Or maybe they all lost the bet.

I have really enjoyed Annie Baker's plays & was looking forward to seeing her feature film debut with JANET PLANET. And while I always admire Julianne Nicholson's work (she is incredible in everything from I, TONYA to MARE OF EASTTOWN) this film & Baker's script just moves along with no structure or no drive. I have no problem with films that take their time, or move slowly as long as there is some kind of emotional or cerebral pay off but sadly, I did not think this film had one. There are small nice, very real moments between some of the characters and I liked Sophie Okenedo's scenes but overall the story is not compelling and yes, the character's keep others at arms length but the viewer wishes they could get a bit closer to the characters and their thoughts and emotions. Overall, a rather lackluster summer coming of "age" from a very talented playwright.