Sutherland and Mirren are likeable here, but they’re stuck in little more than an upbeat wish-fulfillment fantasy.
Restless, at times even chaotic, the film often seems to be replicating the experience of having a manic episode.
Paolo Virzì’s Human Capital gives the tired trope of cutting between overlapping stories a welcome shot of adrenaline.
Here, the mother/whore dichotomy collapses in whimsical ways: The mother is the whore.
The film’s schematic attempt to present two political extremes as equally repugnant and exclusionary is depressingly feeble.