Very well executed

Plenty to Like, Plenty to Dislike

It's an amazing and heartbreaking story.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Pieces of April is a neat little indie film from the early 2000s about a dysfunctional family brought together by the occurrence of Thanksgiving and a spot of life-ending cancer. April Burns is the estranged daughter who sends out the invitations for what could be their final holiday dinner together, and to throw an extra spice into the mix, it's also the first meeting with her mysterious boyfriend (he's black, but a slight upgrade on her previous drug-dealing partner. Go figure.). But director Peter Hedges arranges the structure of the movie so that these stories are all separate strands, and when they converge in the end, all past grievances have been aired and resolved. It is the journey there that tells the story; the reunion is just a formality. A young Katie Holmes plays the titular role, and looks the part (although she would be a complete anachronism today): heavy gothic eyeliner, dyed pigtails, a choker and an abundance of irreverence. But beneath that surface brews anxiety, and Holmes frets frequently and appropriately. Just look at her fall to pieces when stumbling across a pair of salt and pepper shakers along with the childhood trauma that accompanies them. She enables the grief to be visible. Her mother by comparison gets the meatier, Oscar-worthy opportunities, able to undercut her nastiness with biting humour. It's Patricia Clarkson's sheer dismissiveness of the situation that makes her such a potent personality; it's her last Thanksgiving, and she's getting as many late shots in as she can. The natural rhythms of the overlapping dialogue in and out of the car assist this aura of toxicity, riffing off each other, then cutting in during the middle of a sentence, bouncing punchlines off egos. Their timing is impeccable, like a comedy troupe in perfect sync. See how Alison Pill splutters a protest when her big-headed brother tries to snap a candid photo of her picking at her teeth, and then as Clarkson cuts in with a sarcasm comment. You can't buy that type of authenticity. Stylistically, Hedges makes the best of his shoestring budget, replacing conventional lighting and camera setups with a handheld grittiness, as if the viewer was a distant cousin awkwardly observing this family reunion like a fly on the wall. It's no Cassavetes, but it works well in stripping away the glamour of their fragmented lives, peering up and around the dinghy corners of April's apartment block. Livolsi cuts with scrappy relish, in one particular occasion overlaying April and Bobby's sweet pillow talk (about the lavish meal they are preparing) with the bickering and chaos of the rest of the Burns family making their way into the city. It's all grainy and the outdoor shots are overexposed, but those have never got in the way of a good story. April's quest to cook her damn turkey doubles as an expansion of her mindset and tolerance, sharing stories and cooking tips with black neighbours and overflowing with gratitude at the Chinese family who lend her the use of their oven, although they don't speak a lick of English. This is all pretty conventional stuff, and although it may be eye-opening for April, it's not exactly groundbreaking or transgressive. Even when Bobby is fretting over making a good impression on his white girlfriend's family, the subtext is mostly text. When he bumps into April's drug-dealing ex, instead of highlighting the irony of how race still is the overpowering stigma, it just becomes a bad comedy sketch. It all ends in a wordless montage set to gentle music and touching snippets of the reconciliation dinner, which is perhaps more than the Burns deserve. See Jonathan Demme's Rachel Getting Married for a similar story that doesn't pull its punches.

Pieces of April is about being the black sheep. It's a critique of family life.The good. A sweet, yet starkly realistic, family story, sometime touching, often surprising, with a few laughs and oddity to soften the drama. A solidly paced scenario well rendered by the editing and the camera work. Soft music and score. Complex and very varied characters with nice depth. Hard hitting dialogs that reflect the harshness that sometime life can have. Great acting on the part of all the cast.The actors. The most notables are definitively Katie Holmes, Oliver Platt, and Patricia Clarkson.The bad. Nothing.The ugly. Nothing.The result. Not everyone will appreciate this film, but I still recommend it to those willing to see life for what it is.

Moving, funny, sad, and intensely humanAbout thirty minutes into this film, I must confess that I didn't think I was going to like it, but I ended up liking it a great deal. The first problem I had was the look of the film, with an exceptionally grainy cast to the images, made worse by a series of extreme close ups, and bleached out colors. The film never ended up looking good, but the it bothered me less as it went on. The second thing that bothered me was that the set up seemed a bit too stereotypical: black sheep of the family April living in squalor in another town (New York City) makes a Thanksgiving dinner for her disapproving family (loving but sometimes overwhelmed father, younger and negativistic sister, go-with-the-flow younger brother, grandmother suffering from Alzheimer's, and hypercritical, cold, and unloving mother, who is undergoing--probably futility--chemotherapy for breast cancer). Of course, everything starts going wrong and gets worse (April and her boyfriend obviously have no culinary skills, oven is broken and she has extreme difficulty finding anyone who can help her, her mother in the car bringing her family to NYC is constantly berating April and creating a poisoned atmosphere, etc.), and I felt the whole thing was a bit too predictable (which it in part remained). But at some point about halfway through the film, I really started enjoying the film. Sure, it still looked bad, but I started enjoying getting to know the characters, I began to find the humor more and more biting, and I started to want her family to be pleasantly surprised at April's almost heroic efforts to create perhaps the last good day they would all have as a family. I was also enjoying some of the quirky neighbors we meet, including a very helpful middle-aged African American couple living below her, and a bizarre upstairs neighbor with a nice, new stove (played by Sean Hayes of WILL AND GRACE). Things both at April's apartment, with her boyfriend (who unhappily runs into her drug dealer ex-boyfriend just before the dinner starts), and inside the car get worse and worse until everything apparently collapses. And then, perhaps a bit too neatly, everything is put back together again. But just like the characters in the film, we in the end want everything to be nice and pleasant, and it isn't at all hard acceding to that inclination.I liked the cast a great deal. Oliver Platt (he and NOT Will Ferrell should be starring in A CONFEDERACY OF DUNCES!) is as excellent as always, and Patricia Clarkson is outstanding as April's dying and acerbic mother. She is especially funny in the scene where she smokes dope (to counteract the effects of the chemo) and seems to rewind to her youth in the car. Katie Holmes is made to be as unlovely as it is possible to make her, but she still possesses enough wounded charm to make us root for her making her dinner a success. Indeed, her ongoing struggles both against fate and against her own culinary ineptness renders her as quite the heroine by the end of the film.This film isn't for everyone. It is a bit bleak, and it isn't the prettiest film in the world to look at, and fans of DAWSON'S CREEK might want to see a prettier Katie Holmes, but if one can get past all this, one just might discover that this is a funny, inspiring, and moving film.

If ever there was a movie about acceptance, dysfunctional families, and putting people and feelings first, this is it. Katie Holmes is FABULOUS as a daughter who lives in somewhat of a hovel of an apartment in the city. Her family is en route by car to spend Thanksgiving at her apartment. Initially, it appears that they (her mom, dad, brother, etc) are the white-bread average stable American family, and April is the one who just can't get her life together. The movie flips back and forth between April and her family. We see scenes of her trying to learn to cook, overcome a broken stove, sociopathic building neighbors, poverty, and a host of other ills to pull off Thanksgiving dinner. These are interspersed with scenes of the family on their long car drive en route to April's apartment. The film does a masterful job of making a whole story just out of revealing and exploring the personalities of April and her family. We gradually come to understand that April is a perfectly charming, sincere young woman who loves people and tries her best. It is her family who are the losers who really have no life. They reveal themselves as, in one way or another, lazy, unaffectionate, preoccupied with getting high, self-loathing, judgmental, prejudiced, hateful people.It's hard to believe that it's Katie Holmes, but it is. She was TERRIFIC in this.