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Movie Review

Julia Roberts and Lucas Hedges confront addiction in spectacular drama Ben is Back

Alex Bentley
Dec 20, 2018 | 11:41 am
Julia Roberts and Lucas Hedges confront addiction in spectacular drama Ben is Back
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The horrors of opioid addiction have made bold-faced headlines for years in the United States, so it only makes sense that filmmakers are increasingly using it as storytelling inspiration. Earlier this year, Beautiful Boy gave a real-life look into a destructive codependent parent-child relationship, and now Ben is Back has gone the fictional route for even greater effect.

As the film begins, Holly Burns (Julia Roberts) finds her son, Ben (Lucas Hedges), on the doorstep of their home. It’s soon revealed that Ben has come home from a short stint in drug rehab to be with his family for the holidays, a step that does not sit well with his sister, Ivy (Kathryn Newton), or stepfather, Neal (Courtney B. Vance).

Holly is also fighting conflicting feelings, overjoyed at seeing her son but wary of how he has hurt them in the past. Over the course of one day, the impact of Ben’s return spreads all over town, leading to the reopening of old wounds and a variety of situations that both Ben and Holly had hoped would remain in the past.

Writer/director Peter Hedges (Lucas’ father) has crafted a film that unfolds with almost perfect precision. Certain events from the pasts of both Ben and the family as a whole are hinted at early on, and the filmmaker reveals the full extent of those events when they will have the most effect.

The joy — and, yes, that’s the right word, despite the depressing nature of the film — of watching the story unfold is how well everything fits together. Most films, even the best ones, have at least a few contrived situations that interrupt the flow of the plot. There is not one such moment in this film, as the pieces of the story connect seamlessly.

Consequently, everything and everyone in the film feels devastatingly real. It’s easy to feel the heartbreak within the main family of the story, but you know a film is working when those feelings extend to ancillary characters who make relatively brief appearances. The elder Hedges does wonders in grounding the film, never sensationalizing any of its elements.

The story, of course, would be nothing without its actors, and the film is full of superlative performances. Lucas Hedges has had a big year, with roles in Mid90s and Boy Erased, but this is by far his best performance yet. He’s never showy, but he’s still able to get across the truth of Ben’s struggle impeccably.

Likewise, Roberts is as good as she’s ever been as Holly. Too often in her career, it’s been difficult to see her as anything but a “movie star.” In this film, she is nothing but an actor and she is magnificent. Credit must also go to Vance, Newton, and Rachel Bay Jones for their crucial supporting roles.

Quite simply, Ben is Back is spectacular. That’s a word I never thought I’d use for a film such as this, but the nuanced storytelling, subtle directing, and uniformly great performances make it a film that should not be missed.

Julia Roberts and Lucas Hedges in Ben is Back.

Julia Roberts and Lucas Hedges in Ben is Back
Photo by Mark Schafer
Julia Roberts and Lucas Hedges in Ben is Back.
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Movie Review

Theranos founder Elizabeth Holmes' doc leaves truth in question

Alex Bentley
Oct 15, 2026 | 11:42 am
Nathan Fielder and Elizabeth Holmes in You Can See Everything
Photo courtesy of A24
Nathan Fielder and Elizabeth Holmes in You Can See Everything.

Elizabeth Holmes faced one of the most public downfalls in recent history after she was accused of defrauding investors in her health technology company, Theranos. Her subsequent indictment and conviction drew the interest of many, including, it seems, comedian/actor/filmmaker Nathan Fielder. Fielder somehow convinced Holmes and her husband, Billy Evans, to make a documentary about her final days of freedom, called You Can See Everything.

It’s not immediately clear why Fielder — who only has one previous feature-length documentary to his credit — is interested in profiling Holmes, but the approach that he and co-director Lance Oppenheim (Primetime) take is one that puts Fielder in the spotlight as much as her or Evans. Fielder looms over the couple — sometimes literally, sometimes from afar — as they care for their children, make meals, try to re-establish business relationships, and prepare for Holmes’ prison sentence, which is due to start about a month after the film begins in 2023.

Fielder quizzes Holmes and Evans about predictable subjects — such as how Theranos worked, her relationship with COO Sunny Balwani, and her conviction — and ones that are slightly off-kilter, including the miniseries The Dropout, which dramatized Holmes’ rise and fall. He is met with seeming openness by both of them — the title of the movie is uttered by Holmes at one point — but there are times where their idea of transparency doesn’t jibe with Fielder’s expectations.

Through it all, the quirky reputation that Fielder has from TV shows like Nathan for You, The Curse, and The Rehearsal colors his participation, as well. He appears sincere, if surprisingly intense, in his questioning, but there are more than a few moments where it’s fair to wonder if the whole thing is an act of performance art. That suspicion grows in the second half of the nearly three-hour film as Fielder and Oppenheim go down roads that stretch the definition of what a documentary is or can be.

The film is utterly fascinating as the filmmakers go on what seems to be a full-on exploration of the meaning of truth. Holmes and Evans, either intentionally or unintentionally, carry on conversations with Fielder with wide-open, unblinking eyes, something that conveys honesty and creepiness in equal measures. Fielder meets them with squinting expressions, looking like he’s trying to determine how candid they’re actually being.

One of the biggest things the film reveals (or does it?) is that — if she’s not a sociopath — Holmes might be someone who’s either oblivious or naive. As cryptic or strange as she can be in words and actions, Evans is even more so, and as the film progresses it’s him whose motives and ideas are called into question. Control over the narrative of the film wobbles back-and-forth between Fielder, Holmes, and Evans, and even at the end it’s unclear whose perspective has truly won out.

There is no way to accurately get across what it’s like to watch You Can See Everything for the first time. The motives of everyone involved are up in the air, resulting in a roller coaster ride that’s full of astonishment, laughs, and a number of surprises. It’s an audacious film that can’t be categorized, one that will challenge the thinking of voters when it comes time for awards season.

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You Can See Everything opens in theaters on October 16.

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