In Jesse Eisenbergâs smart directorial debut, â ,â Julianne Moore plays a Good Person, at least on paper. Evelyn runs a womenâs shelter for the victims of domestic abuse and other kinds of horrors. She drives a small, eco-friendly car. She listens to the classical music station. She eats Ethiopian food. She lives an unflashy yet undeniably privileged life, in a nice suburban home with her husband and teenage son. She is not, what you might call âhappyâ in the traditional sense.
Her state of being is more like one of smug satisfaction â or it might be were it not for her high school age kid. Despite all her best efforts to mold him in her image, he has become his own person, and itâs a person she doesnât particularly like.
The kid in question, Ziggy (Finn Wolfhard) decided some time ago that money and fame were what he wanted in life, and heâs gotten a small taste of both through a decently popular YouTube channel where he livestreams songs for a growing audience of young girls who then throw money at him through likes. He is also smug, in a different way, and resentful of his motherâs sanctimoniousness. He couldnât care less about her Good Work and Good Life Choices.
Ziggy seems to have been shaped in Eisenbergâs image, or at the least the image we have of him as an awkward, deeply insecure person who masks his insecurity with cruelty and intelligence in films like âThe Social Networkâ and âThe Squid and the Whale.â Wolfhard embodies the cadence and emotionless affect of his directorâs on screen persona perfectly.
The heart of the film is the aching missed connections between mother and son. They have, they know, so much to be grateful for and yet canât seem to rise above their superficial differences. Itâs discontented suburban white people, sure, but Eisenberg keeps it fresh, modern and piercing. This point is hammered in, sometimes too bluntly, as both glom onto what they imagine to be ideal companions outside of the home.
Ziggy develops a crush on a serious, politically motivated peer, Lila (Alisha Boe), and tries on a social justice persona to get in her good graces. He has not yet learned to distinguish a womanâs kindness from romantic interest. And so he asks Evelyn for help on how to sound smart and political. Rather than using it as an opportunity to connect, she decides itâs a teaching moment to scold him to do the work. They are both right and they are both wrong.
Itâs hard not to watch this and cringe at your own teenage brattiness, but Ziggy is not the only party at fault. He at least has the excuse of his wild teenage brain to blame. Evelyn, on the other hand, does not. The capacity for immaturity is boundless.
Eisenbergâs script goes hard on this very imperfect mother and Moore fully commits to her awkwardness and cruelty that she hides behind her Goodness. At the center where she works, she finds a stand-in son, a boy about Ziggyâs age who has come in with his mother to help her get some reprieve from an abusive husband. Kyle (Billy Bryk) is a wildly decent and thoughtful kid -- kind to a fault and eager to please. The fact that Kyle has emerged this good from a household so outwardly âbadâ breaks something in her brain. She starts to claim Kyle as her own, dreaming about his future, taking him out to dinner, failing to see how uncomfortable sheâs making him.
Like Ziggyâs obsession with Lila, Evelynâs with Kyle is also immensely awkward. Maybe too awkward and maybe a little strained, even with someone as capable as Moore handling the material. The point is received very early on, though, and your patience may start to wane.
Eisenberg, who has already proven himself to be a talented, unsparing writer, shows promise as a director. He has not made a flashy art film, but it's a smart, biting and occasionally sweet character piece about unlikable characters that you still may want to root for, because, though it may be hard to admit, theyâre not so different from us.
âWhen You Finish Saving the World,â an A24 release in theaters Friday, is rated R by the Motion Picture Association for âlanguage.â Running time: 88 minutes. Three stars out of four.
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MPA Definition of R: Restricted. Under 17 requires accompanying parent or adult guardian.
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Lindsey Bahr, The Associated Press
