Office Christmas Party
Another reminder that allowing your cast to madly improvise instead of actually providing a coherent script with a scintilla of inherent logic often leads to…
The post-“TomKat” tabloid baggage that Katie Holmes continues to be saddled with is, unfortunately and unfairly, far weightier than her movie career of late (just try Googling her name and “Jamie Foxx” and see what happens). While her couch-jumping ex, Tom Cruise, has managed to maintain his most-wanted status as an action hero at age 50-plus in films like "Mission: Impossible - Rogue Nation," the one-time sweetheart of TV’s “Dawson’s Creek” keeps struggling to find film roles that offer much substance.
Though Holmes showed early promise as she transitioned from TV to the big screen in 2000’s “Wonder Boys” and 2003’s “Pieces of April,” the now-37-year-old actress has had to settle for a run of thankless mother-girlfriend-wife parts including those in Adam Sandler’s wretched “Jack and Jill” and non-starter dystopian yarn “The Giver.” But perhaps her luck is changing. Last year, Holmes proved she still could stand out in an ensemble with a juicy recurring role on Showtime’s crime drama “Ray Donovan," and became a first-time director with the upcoming "All We Had," which she also stars in. Even better, in her latest film "Touched With Fire," she delivers a beautifully understated and moving performance as a poet suffering from bipolar disorder, who falls in love with a fellow psychiatric patient with similar creative passions.
To be sure, the story is a bit of a downer, and the thematic device of manic depression inches close to overkill, as with films like "I Smile Back" or "Silver Linings Playbook." But writer-director Paul Dalio—backed by his New York University film school mentor and executive producer Spike Lee—manages to avoid the trap of glamorizing the illness while still illuminating why authors, poets and painters such as Lord Byron, Emily Dickinson, Van Gogh, Edvard Munch, Tchaikovsky, Ernest Hemingway and Virginia Woolf have been inspired by their manic episodes. Although not exactly based on Kay Redfield Jamison’s well-regarded 1993 book of the same name, the plot is driven by her research into how being bipolar affects artistic personalities, for good and bad, as the lead characters wrongly regard it as their excuse to toss away their meds and indulge their over-amped imaginations and bouts of insomnia.
Nor are there any power-tripping Nurse Ratcheds to be seen, as Carla (Holmes), who has published a book of her works, lands in psychiatric hospital and meets her seeming soulmate, the far more frenetic and anti-social Marco (an impressive Luke Kirby of TV’s “Rectify” and “Show Me a Hero”). At first, they butt heads during a group therapy session but soon connect over his adoration of Van Gogh’s “Starry Night.” Turns out, she is obsessed with the sun while he connects with the moon—his rap name at poetry slams is Luna, derived from “lunatic”—and together they take a mental journey into their own version of outer space, nicely visualized by Dalio.