Mother Couch movie review

 

Mother Couch Movie review 

From the moment Dave (played by Ewan McGregor) hurriedly crosses an empty parking lot, “Mother, Couch” gives off a sense of emptiness. Dressed in a black suit, Dave heads towards a furniture store showcasing vintage, handcrafted pieces. At the front desk is Bella (Taylor Russell), a cheerful worker whose father Marcus and Uncle Marco (both portrayed by F. Murray Abraham) are absent. In the store, Dave finds his mother (Ellen Burstyn) seated on a green couch—an item with deep personal significance. Despite his attempts to convince her, she refuses to leave. Dave’s brother, Gruffudd (Rhys Ifans), has already arrived, and their sister Linda (Lara Flynn Boyle) soon joins, each trying to persuade their mother to move. It’s an intriguing start, full of mysteries about these characters and their environment, but the film loses its impact due to its absurd approach.

As the forced bursts of energy, surreal dream sequences, and attempts at self-reflection fade, it becomes apparent that “Mother, Couch”, a family drama written and directed by Niclas Larsson, struggles to maintain interest. Set predominantly in a larger-than-expected furniture store, the film plays with the idea of using a mundane setting as a backdrop for hidden emotional turmoil. The various showrooms of the store serve as a continuous, ambiguous space, reminiscent of the style of Charlie Kauffman, who often uses ordinary settings to explore deeper anxieties. The film also incorporates an element of escalating absurdity, similar to the work of Roy Andersson. However, the movie more closely echoes the tone of Paul Thomas Anderson, particularly in its use of a furniture store as a central location and the frantic energy of Dave, which draws parallels to “Punch-Drunk Love.”

Despite these influences, “Mother, Couch” lacks the emotional depth that would make the story resonate. Unlike Anderson's film, this one doesn’t have a character with whom audiences can connect. Dave, with his strained relationship with his soon-to-be ex-wife Linda (Lake Bell) and his tendency to neglect his young daughter, isn’t very likable. This wouldn’t necessarily be a problem if the character had complexity, as seen in many of Kauffman’s works, where flawed individuals struggle with personal issues. Unfortunately, Dave comes across as passive, shallow, and uninteresting, which makes it difficult to invest in his journey or the world he inhabits. The film's direction also lacks a clear perspective, leaving viewers unsure if Dave is truly the focus or simply the most prominent figure in an otherwise dull ensemble.

The script offers little clarity. Although the movie is adapted from Jerker Virdborg’s Swedish novel “Mamma i soffa,” Larsson significantly alters the original story. These changes are noticeable, as much of the film leaves Dave’s motivations unclear. The couch in the story is used as a heavy-handed metaphor for the inability to process emotions and move forward. We learn that Dave’s mother wasn’t the best parent, having had children with three different men (explaining the differing accents of McGregor, Ifans, and Boyle, who play the siblings). Dave discovers that his mother kept the letters he had written to his siblings in an attempt to build a connection with them.

While these revelations pose questions, they fail to drive the plot. Larsson doesn’t delve into what should be the central question—what Dave truly wants—until the last twenty minutes of the film. By the time this moment arrives, it’s difficult for viewers to care, as the movie hasn’t given them enough reason to be emotionally invested. Larsson relies on quirky humor, the kind that works well in existential Swedish films but doesn’t quite translate in this context. Unfortunately, it’s not enough to hold the audience’s attention.

The film is further weakened by Burstyn’s overly direct monologues, a largely underdeveloped character in Bella (who seems to exist only to admire Dave), and a musical score by Christopher Bear that tries hard to replicate the vibe of “Punch-Drunk Love” but falls short. McGregor delivers an ambitious performance, trying every extreme acting choice he can, but his portrayal still lacks substance. As the narrative shifts into stranger territory—a scene featuring a hellish seascape transitioning into Dave at a pond, seemingly on the verge of closure—it feels like a missed opportunity. The film’s descent into the surreal comes too late to make an impact.

Some viewers might relate to the unresolved tension that arises when dealing with difficult family dynamics. However, “Mother, Couch” feels as unresolved as the issues it seeks to explore, leaving the audience with an experience that is unsatisfying. You’re likely to walk away from this film trying to forget it ever happened—until, perhaps one day, the sight of an old couch triggers an unexpected wave of exhaustion.

Genre: Comedy, Drama

Director: Niclas Larsson

Actors: Ellen Burstyn, Ewan McGregor, F. Murray Abraham, Lake Bell, Lara Flynn Boyle, Mar'Ques Woolford, Ozzy Davidson, Penelope Young, Rhys Ifans, Taylor Russell

Country: United States of America

Company: Fat City, Film i Väst, Lyrical Media

Awards: 1 win & 1 nomination

Worldwide Gross: $50,163

Duration: 1h 36min

Release: 2024

Release Date: 2024-07-05

IMDb: 5.7

TMDB: 7.3

Rotten Tomatoes: 41%

FilmAffinity: 5.4

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