The film allows the scion of one of Hollywood’s most notable families to interrogate her relationship with celebrity in self-aware fashion.
The film’s larger points essentially fall by the wayside in the name of black comedy that’s largely without genuine edge.
Manglehorn is too talky by half, especially when two or even three scenes are superimposed on one another.
At the center of Jamie Babbit’s film, festering like an open sore, is the stereotype of the psycho lesbian bitch.
The series is direct and unconfrontational, but also uninsightful.
The sense of disquiet that The Quiet stirs feels unintentional, suggesting behind-the-scenes conflict.