The Good Mother Review, Analysis And Impression
Miles Joris-Peyrafitte’s “The Good Mother” presents an initially ironic title, as it introduces us to Marissa, portrayed by Hilary Swank, a hard-drinking mother seemingly estranged from her grown sons’ lives. Her eldest, Michael, grapples with opioid addiction and criminality, immersed in the dangerous world of drug trafficking. In stark contrast, her younger son, Toby, is a law enforcement officer. This division between her sons mirrors the law-and-order divide that her family straddles.
The film thrusts us into this tumultuous family dynamic when Toby abruptly interrupts Marissa’s work at the Times Union newspaper, where she serves as an editor, to deliver the grim news of Michael’s murder. What is most striking is Marissa and Toby’s apparent acceptance of Michael’s death, suggesting that they have been mourning his Impending demise for a long time.
However, the film introduces another mother, Paige, played by Olivia Cooke, during Michael’s funeral. To Marissa’s astonishment and sorrow, Paige is not only Michael’s girlfriend but also pregnant with his child. Marissa’s initial reaction is one of rage, as she delivers a slap to Paige’s face, blaming her for Michael’s demise. Despite this volatile encounter, Paige displays remarkable resilience and compassion. She seeks answers about her boyfriend’s death, determined to uncover the truth about the man she loved and the father of her unborn child.
“The Good Mother” marks Miles Joris-Peyrafitte’s third feature film, and the second collaboration with Madison Harrison, who briefly appears as Michael. Their previous project, “As You Are,” also delved into the world of teenage crime, set in the 1990s. Similarly, “The Good Mother” is a period piece, taking place in 2016 against the backdrop of the U.S. presidential election, although this choice appears somewhat tangential to the central narrative.
Joris-Peyrafitte and Harrison position “The Good Mother” as the second installment in a trilogy exploring their hometown of Albany, New York, following “As You Are.” This time, they tackle the harrowing issues of the opioid crisis and corrupt law enforcement. The film unfolds as a somber family drama, deeply entwined with the theme of addiction, while also weaving a mystery narrative as Paige tenaciously pursues leads surrounding Michael’s murder, beginning with his former best friend and fellow drug dealer, Ducky, portrayed by Hopper Penn.
Intriguingly, Paige’s involvement with Marissa isn’t a collaborative effort but more of a dragging along, as Marissa remains ensnared in a hazy world of whiskey-soaked reminiscences and abstract meanderings down Memory Lane. Joris-Peyrafitte skillfully brings this foggy perspective to life through Michael’s voice messages and archival home-movie footage. Hilary Swank, with an unusual yet likely regionally accurate accent, effectively portrays Marissa’s blurred state, although her character is limited in scope.
However, Olivia Cooke breathes vitality into the narrative through her portrayal of Paige. Paige, as a character, becomes the driving force behind the story, injecting it with life and purpose. Yet, despite these strong performances, the central mystery feels somewhat contrived, with implausible twists. The screenplay appears to strain for topicality, attempting to cram too many elements into this somber tale, in a bid for relevance that fails to resonate fully. This approach detracts from what should be the core focus of the film – the two mothers left grappling with the devastation wrought by opioids and gun violence. “The Good Mother” aspires to shed light on the profound effects of these twin epidemics on American families. However, viewed through the boozy haze of Marissa’s perspective, the film struggles to convey its intended message effectively.
Also read-
