Millers in Marriage

Edward Burns is a very talented writer, director, and actor. I have seen several of his works and always consider them pretty good. But when I watched this 2024 movie, it seemed to be not quite right this time. After I did some thinking, I finally understood why I had such feelings and what was wrong with this screenplay. I don't know if you have found out or not, but I will point it out to you anyway.

Three all-white couples?! That is so wrong! In all the movies we have seen in recent years, the married couple should be and must be an interracial couple, either the husband is African American, or the wife is African American, or either one should be Asian sometimes. That is how we show to the world, that Americans' marriages, like cops or business organizations, are based on the DEI principle. Most of the superior ones should be African Americans. Therefore, these three couples all in White just looked so unreal. Mr. Burns completely ignored the actual norm of Hollywood. One of the three couples, the husband should be African American, and one of the couple, the wife should be African American. Only one couple, the husband and wife could be White, or best yet more thoroughly DEI, one of them is Asian American, Hindi American, Chinese American, or Korean American. Three couples all in White; how boring it would be!

Anyway, I would not think Mr. Burns is a racist for such an overlooked mistake.

Whenever I'm browsing what should I watch in Toronto Film Festival, I always rely on reading short plot/synopsys and with strictly avoiding to watch the trailer as to not receive/spoiled more than necessary. And in this case that was mistake. While plot summary seemed inviting, with strong direction that is sort of serious drama from marriage(s), visual side screwed all the intentions. All, but literaly ALL women characters were all the time with perfect make up (even when waking up in bed) perfect hair style (even when going doing things in kitchen), on high heels (even during the day in their own houses). Although they are all from some middle upper class, and not from aristocratic level, all interiors, even in cottages, were like from 'Home and Garden' magazines with pristine care that every item is on it's place ready for photo shooting. I thought this 'Dinasty' style of making movies was long time ago history. Seems not.

Feels like all these couples need individual therapy to figure out how to be married after kids launch. It's like no one paid attention to their marriages during their marriages. Now they are all struggling. I love ed burns and his movies...they feel like unhealed people seeking others to fill something within. Great acting beautiful scenery. Worth a watch for sure. Seems like intelligent people who won't seek support to resolve internal issues creating external problems. I'm sure many couples can relate to these three couples And their struggles. There has to be a more effective way to work though these situations.

The movie has an essence of soap opera, not real life people. They always drink wine and champagne, they are never hungry, they never do real life things, they never finish conversations that matter. They just behave like 15 years old, not mature 50 plus years old people. Unfinished conversations, feelings, relationships. Things are not explained. Why do people behave the way they do? The constant ending of a scene and jumping to another and then another is tiring and frustrating. What this movie is is three unhappy couples who should have divorced years ago. Did this movie teach me anything new? Not really.

In dry, wordy, indie drama "Millers In Marriage" Edward Burns, Julianna Margulies, & Gretchen Mol are 50+ siblings struggling in respective New York marriages to Morena Baccarin, Campbell Scott & Patrick Wilson (which respectively attracts Minnie Driver, Brian d'Arcy James, & Benjamin Bratt)... which they discuss, extensively. Writer / director Burns is the king of authentic US East Coast family / friends dramas - usually based on younger blue-collar folk, but this (his first film in six years) studies older 'rich people with champagne problems'... which lacks the Burns magic. It's really great that he's back, but can he please now step back further again... to his working-class roots?