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No consensus yet.
All Critics (22) | Top Critics (10) | Fresh (13) | Rotten (9)
Like so many women who unwisely spend too much time in gyms ruining their looks under the delusion of self-improvement, [Hunter's] muscles upstage her femininity. But the girl can still act.
Hunter, her Darcy often wearing a cowboy hat along with a tank top and skinny jeans more often seen on teens, gives a lived-in, down-but-not-out performance throughout.
Not even Hunter, who eventually wears out her welcome, can keep Strange Weather from going off the cliff.
In a quivering, bone-deep performance, Hunter takes Darcy from a mother encased in guilt to a woman who can acknowledge her shattering loss while still recognizing her right to be alive.
The film is at its best when Dieckmann slows down the action and revelations for its real charm: two ladies, on the road, talking.
A case of excellent actors straining to elevate a contrived screenplay ...
Carrie Coon proves once again that she's a phenomenal talent who is currently being severely under-utilized in the Hollywood ecosystem.
... a heartfelt and modestly poignant examination of maternal grief, yet it's consistently undermined by plot mechanics and clichés.
This slight drama doesn't have very much to it, but any movie about a middle-aged woman is a welcome rarity, and in it, Hunter proves she can still bring life and spirit to any kind of material.
It's hard to imagine another actor in the world who could elicit those particular responses to those moments, or who could make the wild narrative swing of the climactic encounter not only play, but play credibly.
As the focus of Strange Weather, Holly Hunter is her typical fantastic self, using her committed performance to ground a narrative about a familial tragedy.
Where the brilliance of Strange Weather lies - in great part through Hunter's stunningly human and subtly searing performance - is in its constant grappling with the nonlinear process of grief.
A stunning performance by Holly Hunter elevates this careful treatment of the subject of youth suicide. This is no simple revenge tale; instead, the film is only about one thing - the mother and her enduring love, pain and rage after her son's suicide. It is a long process for her to arrive at the point where she can resolve some of it and go on with life, but there is no simple closure. This is a complex, powerful screenplay, not wedded to formulas. Hunter as actor invites a fleeting comparison with Isabelle Huppert: there is a bit of physical resemblance, and both have a surgical approach to the role. But Hunter is ferocious. Her physical presence is as wrought as her emotions - all muscle and sinew, and stringy hair, a face hard-bitten with anguish and determination. Her scenes with the boy's father, and the boy's friends, go deep into the issues; and these men are anything but stereotypes. Putting all of the sharp edges of the story into relief is a kind woman friend, who is all softness and understanding. If you were hoping for Thelma and Louise, think again. This is not adventure, but a raw account of what suicide does to those left behind. Yet it doesn't forget the audience: it is full of humour, the old dog and the truck are stars, you see the real American South, devoid of Hollywood gloss, and you glimpse into the American ethos of individualism and enterprise. And you can watch a star filling the screen to bursting, who makes Keith Richards look innocent, and Isabelle Huppert mild-mannered. Maybe that's what it takes.
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