Reviews


Film Review: Beeswax

Talky analysis of modern-day relationships and insecurities can’t quite shake its self-satisfied air of modish inconsequentiality.

-By Neil Young


filmjournal/photos/stylus/101218-Beeswax_Md.jpg

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The third time isn't much of a charm for overhyped writer-director Andrew Bujalski with Beeswax. After Funny Ha Ha and Mutual Appreciation—which translated critical acclaim (some of it wildly over-enthusiastic) and festival awards into art-house distribution in the U.S., U.K. and elsewhere—this is another rough-edged, noodling affair in which genial but frustratingly self-absorbed twenty- and thirty-somethings chatter on and on about their lives, loves and finances. There's clearly some kind of limited market for such stuff, but Beeswax, mainly set in a kooky Austin vintage-clothing boutique, seems unlikely to expand it further.

The focus is on a pair of twin sisters: blonde, kind-of-brittle Jeannie, and brunette, easier-going Lauren, played by real-life siblings Tilly and Maggie Hatcher. Jeannie is manager/co-owner of Storyville, a downtown boutique retailing "second-hand and vintage" clothing, while Lauren drifts between teaching jobs. Jeannie is involved in a long-simmering dispute with Amanda (Anne Dodge), her partner in the store's ownership, and receives informal advice from her boyfriend, law student Merrill (Alex Karpovsky). Minor mishaps duly ensue.

The Hatchers are fresh and appealing, and Beeswax captures the semi-articulate flow of conversation among a certain social type. Given Bujalski's reported discomfort at being so closely associated with the no-budget, relationships-focused mini-genre known as "mumblecore," however, one might have expected him to distance himself from such labels here. Not a bit of it: While they're educated and intelligent, nearly everyone has communication problems. The result is OK as it goes, but Beeswax is perfectly content to burble along through its 100 minutes without ever threatening to come up with much that's surprising, troubling or especially unpredictable.

It's surely no accident that the script's descriptions of the store—"never be a major profit generator...it generates a pretty modest income, reliably"—also apply to the kind of movies Bujalski, it now seems safe to conclude, is happiest turning out. But Beeswax, for all its low-key charms, is likely to mainly inspire exasperated "So what?" reactions among those who don't already count themselves members of the director's small but devoted fan club. It should come as no surprise to anyone that the word (taken from the slang phrase "Mind your beeswax") is never once spoken aloud—a touch that's typical of the arch, hipper-than-thou vibe that the picture exudes from first frame to last.
-Nielsen Business Media


Film Review: Beeswax

Talky analysis of modern-day relationships and insecurities can’t quite shake its self-satisfied air of modish inconsequentiality.

Aug 7, 2009

-By Neil Young


filmjournal/photos/stylus/101218-Beeswax_Md.jpg

The third time isn't much of a charm for overhyped writer-director Andrew Bujalski with Beeswax. After Funny Ha Ha and Mutual Appreciation—which translated critical acclaim (some of it wildly over-enthusiastic) and festival awards into art-house distribution in the U.S., U.K. and elsewhere—this is another rough-edged, noodling affair in which genial but frustratingly self-absorbed twenty- and thirty-somethings chatter on and on about their lives, loves and finances. There's clearly some kind of limited market for such stuff, but Beeswax, mainly set in a kooky Austin vintage-clothing boutique, seems unlikely to expand it further.

The focus is on a pair of twin sisters: blonde, kind-of-brittle Jeannie, and brunette, easier-going Lauren, played by real-life siblings Tilly and Maggie Hatcher. Jeannie is manager/co-owner of Storyville, a downtown boutique retailing "second-hand and vintage" clothing, while Lauren drifts between teaching jobs. Jeannie is involved in a long-simmering dispute with Amanda (Anne Dodge), her partner in the store's ownership, and receives informal advice from her boyfriend, law student Merrill (Alex Karpovsky). Minor mishaps duly ensue.

The Hatchers are fresh and appealing, and Beeswax captures the semi-articulate flow of conversation among a certain social type. Given Bujalski's reported discomfort at being so closely associated with the no-budget, relationships-focused mini-genre known as "mumblecore," however, one might have expected him to distance himself from such labels here. Not a bit of it: While they're educated and intelligent, nearly everyone has communication problems. The result is OK as it goes, but Beeswax is perfectly content to burble along through its 100 minutes without ever threatening to come up with much that's surprising, troubling or especially unpredictable.

It's surely no accident that the script's descriptions of the store—"never be a major profit generator...it generates a pretty modest income, reliably"—also apply to the kind of movies Bujalski, it now seems safe to conclude, is happiest turning out. But Beeswax, for all its low-key charms, is likely to mainly inspire exasperated "So what?" reactions among those who don't already count themselves members of the director's small but devoted fan club. It should come as no surprise to anyone that the word (taken from the slang phrase "Mind your beeswax") is never once spoken aloud—a touch that's typical of the arch, hipper-than-thou vibe that the picture exudes from first frame to last.
-Nielsen Business Media

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