The films I saw ranged from the uneven “HappyThankYouMorePlease,” a film written, directed by and starring Josh Radnor of the TV show, “How I Met Your Mother”; to the uncomfortably funny and moving “Please Give” by the too-long absent Nicole Holofcener; to the touching, understated “Welcome to the Rileys,” that featured the fascinating acting triad of James Gandolfini, Melissa Leo and Kristen Stewart.
“HappyThankYou” and “Rileys” both involve people who either accidentally become guardians to a young person or find themselves compelled to do so. In the case of “HappyThankYou,” it’s Radnor himself, as Sam, a struggling writer in Manhattan, who spots a young child of color on the subway while on his way to an important meeting about his unpublished novel. When the child’s apparent mother gets off the subway and the little boy winds up stuck on the train after the doors close, Sam reluctantly assumes responsibility for the youngster.
Welcome to the Rileys” follows a familiar, slightly similar trope, with Gandolfini as an Indiana plumbing-parts entrepreneur who takes a fatherly interest in a young stripper (Stewart) he meets while at a convention in New Orleans. To the credit of writer-director Jake Scott, it’s a chaste relationship that builds in affection and mutual trust; though Gandolfini and Leo, as a married couple, have a history we’ve seen before (going through the motions since their teen daughter was killed several years earlier), “Rileys” doesn’t make any Hollywood plot turns, preferring to focus on the realistic prospects of a Midwestern couple suddenly trying to assume a parental role in the life of this young runaway.
It’s also smart enough not to make a big deal out of the emotional estrangement between Gandolfini and Leo: no simmering recriminations, or angry venting of years-old anger. They instead offer beautifully modulated performances as a couple that has lost its way (though would like to find it back), while Stewart attacks her role with a clarity and ferocity that is compelling. Stewart brings an emotional nakedness and spirit to the role that is reminiscent of certain male actors when they were young: Sean Penn for one, Leonardo DiCaprio for another.
Hollywood and Fine
For all the men who've ever thought about skipping that lap dance and adopting the stripper instead, "Welcome to the Rileys" is for you. For all the lonely housewives who've worried their husbands might be cheating on the road, "Welcome to the Rileys" suggests a feel-good alternative. Nothing short of preposterous, Jake Scott's debut imagines a grieving couple (James Gandolfini and Melissa Leo) who play surrogate parents to an underage stripper ("Twilight's" Kristen Stewart) and spins it for the "Blind Side" crowd. But don't expect Christians to flock to this Good Samaritan tale in the same way.
With a cast like this, buyers are sure to be interested, although writer Ken Hixon's story is anything but an easy sell, especially given Scott's almost tediously self-serious treatment of the material. Considering he's the scion of Ridley Scott (and nephew to ADD artiste Tony Scott), the helmer makes the unexpected decision of drawing out his narrative. The sluggish pace serves to spotlight poignant scenes, but mostly feels as if the Rileys' family tragedy has left their 30-year marriage in a state of suspended animation.
During a depressive funk, Indiana plumbing supply salesman Doug (Gandolfini) leaves housebound wife Lois (Leo) behind and stumbles into a New Orleans strip bar, he meets a 16-year-old pole dancer, Mallory (Stewart), who looks just enough like their dead daughter to unleash his paternal instincts. Where the "Twilight" movies try to hide Stewart's pimples, here, those natural imperfections (plus a few bruises and suicide-attempt scars painted in for good measure) suit the character just fine. Hiding behind raccoon-eye mascara and electrical-tape pasties, Stewart is the perfect wretch, utterly convincing as a lost girl leveraging her sexuality to compensate for her complete powerlessness.
Doug and Mallory's first meeting goes awkwardly, but this being the movies, they cross paths again later that night at a local diner. Before long, the big bear of a man (as gentle as Tony Soprano was dangerous) proposes paying Mallory $100 a day to stay in her filthy apartment, fending off her sexual advances and fining the foul-mouthed teen every time she uses the F-word.
From "Taxi Driver" to "Hardcore," the notion of introducing chivalry to the seedy world of sex workers is nothing new, though such stories tend to be more exciting when a suitable villain (say, a drug dealer or pimp) arises to thwart the well-meaning outsider. "Rileys" sees itself as being above such cliches, though it defaults into an equally unoriginal series of more "realistic" tropes, such as the less-than-happy ending.
The title, ironic at first (seen nailed to the garage of the Rileys' joyless home), becomes clear about halfway through, after shellshocked Lois drives herself all the way down to retrieve her husband. With the Rileys back together, they both turn their attention to Mallory, and though such an arrangement can't possibly last, it provides something of a substitute for their wounded family.
The initial Riley reunion demonstrates the near-miss nature of Scott's direction, where understated music, lensing and editing fail to convey the emotion from screen to audience. Though perfs are universally strong, both Gandolfini and Leo seem like odd casting choices, forcing an awkward Southern accent from the former and swapping Leo's all-weather toughness for something more fragile. Such obstacles aside, the pair are downright dynamite in the pic's more confrontational scenes, as well as quiet moments, such as Gandolfini sobbing alone in his garage, or Leo enjoying her first night in years under the stars.
Variety
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