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    Movie Review

    Stronger is a weak excuse for an inspirational movie

    Alex Bentley
    Sep 21, 2017 | 9:01 am
    Stronger is a weak excuse for an inspirational movie
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    Less than five years removed from the Boston Marathon bombing in 2013, Hollywood has decided that now is the time to relive the event and/or honor the people who were affected by it. Patriots Day, released earlier this year, overreached, trying to tell the story of the entire city. Stronger goes in the opposite direction, telling the story of one specific survivor, Jeff Bauman.

    As presented in the film, Bauman (played by Jake Gyllenhaal) is a rough-around-the edges kind of guy, someone who screws up at work, drinks way too much, and is never really there for his on-again, off-again girlfriend, Erin (Tatiana Maslany). The one time he does show up for her just so happens to be when she runs the Boston Marathon. And he happens to stand next to one of the two bombs detonated near the finish line that fateful day.

    The bomb obliterates the lower half of both of his legs, leaving him to face months of recovery with help from Erin and from his family. However, his family members, including his mom, Patti (Miranda Richardson), had been kind of a mess before he lost his legs, and they don’t improve much after the incident. Their relative lack of support puts Erin on an island with Bauman, who, as one could imagine, has a lot of trouble dealing with the aftermath of the bombing.

    The traditional trajectory of a movie like this is that we meet our hero, who then gets knocked down a time or three, only to rise up due to sheer perseverance and possibly the help of someone who never leaves his side. Director David Gordon Green and writer John Pollono, working from Bauman’s book, seem uninterested in making Bauman into a traditional hero. In fact, they go so far in the opposite direction that it’s almost shocking.

    Instead of appreciating Erin and other people trying to help him, Bauman lashes out on multiple occasions. It would be easy to chalk this up to the post-traumatic stress he’s enduring, but the manner in which it’s portrayed makes it seem more like a character flaw. Things reach a head during an ill-conceived drunk driving scene with Bauman at the wheel. The moment appears to be played for laughs, ending with a cop asking for Bauman’s autograph, with no apparent punishment coming.

    Similar to Patriots Day, Green and Pollono have a lot of trouble figuring out the tone of the film. Bauman and his family are so aggressively “Boston” that it becomes ridiculous. The drinking, the accents, and the belligerent behavior are so constant that it’s impossible to take them seriously. The audience’s natural instinct is to root for Bauman and his family, but the storyline we’re presented makes it almost impossible to do so.

    One could say that Green and Pollono are merely showing the people with warts and all, but the problem is that doesn’t make for a very good movie. It may be the truth, but it’s about as far from inspirational as you can get. It’s difficult to feel inspired when many of the characters are off-putting and uninteresting.

    Gyllenhaal seems to specialize in characters with questionable morals, and Bauman certainly fits in with others he’s played. The most impressive part of the film, both technically and acting-wise, is presenting Gyllenhaal without legs. There’s not one moment you question that fact, and it’s due to both the CGI work and Gyllenhaal’s acting skills, which are second to none.

    Also impressive are Richardson and Maslany. Richardson, an English actress who often plays upper crust English roles, absolutely disappears into the role of Patti. Maslany, an Emmy winner for playing multiple roles on Orphan Black, acquits herself well in her first major film role.

    Despite some good acting, Stronger is the most feel-bad feel-good movie of the year. Jeff Bauman actually may be an inspiring figure, but this film does everything it can not to show it.

    Patty O’Neil, Jake Gyllenhaal, and Miranda Richardson in Stronger.

    Patty O\u2019Neil, Jake Gyllenhaal, and Miranda Richardson in Stronger
    Photo courtesy of Lionsgate and Roadside Attractions
    Patty O’Neil, Jake Gyllenhaal, and Miranda Richardson in Stronger.
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    Movie Review

    Jennifer Lawrence plays one crazy mom in thriller Die My Love

    Alex Bentley
    Nov 7, 2025 | 3:23 pm
    Jennifer Lawrence in Die My Love
    Photo by Kimberley French/courtesy of MUBI
    Jennifer Lawrence in Die My Love.

    Writer/director Lynne Ramsay does not make feel-good movies. Her previous two films —You Were Never Really Here and We Need to Talk About Kevin — were about a traumatized veteran who tracks down missing girls for a living and parents reckoning with a child who might be a sociopath, respectively. Her latest, Die My Love, has a story as dark as its title.

    Grace (Jennifer Lawrence) and Jackson (Robert Pattinson) are a married couple who move into a run-down house that used to belong to Jackson’s uncle, who shot and killed himself on the property. That doesn’t exactly scream “great vibes,” but the somewhat manic duo quickly introduce a child into the equation, an event that forms a schism between two people who previously seemed to be on the same off-kilter wavelength.

    While Jackson works to provide for the family, Grace is left to take care of the baby and herself at the somewhat remote house. She doesn’t appear to be a big fan of the arrangement, engaging in all manner of odd behavior, like crawling around the floor, talking to herself, and taking the baby on miles-long walks to visit her mother-in-law, Pam (Sissy Spacek), who’s not doing well herself after recently losing her husband, Harry (Nick Nolte).

    Ramsay, who co-wrote the film with Enda Walsh and Alice Birch, foregrounds Grace’s experience above all others, but the film is far from straightforward. The idea of post-partum depression is raised as a reason for Grace’s weird behavior, but as both she and Jackson are introduced as two people who skew to the “ab” side of normal, it’s difficult to say that everything she does is due to feelings that arise after giving birth.

    Plus, Grace has plenty to be upset about in general, including living in a death house, being left alone with their child the majority of the time, and Jackson bringing home a yapping dog without even so much as a conversation. But the manifestation of her anger/depression is hard to parse, as Ramsay includes scenes of her carrying around a butcher knife, meeting up with a mysterious figure on a motorcycle, and other strange things that may or may not actually be happening.

    There is clearly a lot of metaphorical work being done by seemingly random things like the reappearance of a black horse on multiple occasions, blaring rock music that accompanies several scenes, and the use of the 1x1 aspect ratio by Ramsay. It’s easy to feel the intensity of the film’s central relationship and their conflicts even if you can’t make heads or tails of the allusions that the filmmaker seems to love.

    Lawrence is put through the wringer almost as much as she was in Darren Aronofsky’s Mother!, and her performance is one that can be felt strongly. Still, because the narrative is unclear, she often appears to be overwrought in certain scenes. Pattinson never fits well with his uncaring and/or oblivious character. Spacek makes a nice impression in a limited amount of screen time, but why Ramsay chose to use the ultra-talented LaKeith Stanfield in the nothing part of the motorcycle rider is baffling.

    Those who love to dig into symbolism and non-linear storytelling will have a field day with the arty Die My Love. But for everyone else, anything Ramsay might have been trying to say about the difficulties of being a mother gets buried under many scenes that don’t make any logical sense and over-the-top acting that’s only fit to match the bizarreness of the film itself.

    ---

    Die My Love is now playing in theaters.

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