Retired factory worker Frank Goode (Robert DeNiro) is looking forward to seeing all his four children around the dinner table for the first time since being widowed. But the family weekend becomes a bust when all four say they can’t make it. Frank decides to go to them instead, traveling the country by train and bus to visit each of them. His expectation of witnessing their successful lives is unfulfilled; however, as Frank comes to realize that everything is not as he thought.

CRITIQUE

In recent years, family dramas seem to be a popular area of exploration on screen. These films, typically done by writer/directors, aim for a realism that not all films do (or have to). Actors with considerable talent in turn appear to gravitate toward roles in such productions. Everybody’s Fine has solid writing and directing, as well as a talented cast of actors, but the emotional engagement the film attempts is a little too subtle.

Robert DeNiro is obviously always a wise casting choice, and his role here is one that is unlike any he has taken before, so the film has firm footing to begin with. Furthermore, throughout the film, there is never a moment that makes the viewer groan in disbelief or cheesiness or falseness. That is not the flaw of the film. Rather, the moments that are intended to reach the audience on the deepest level somehow don’t accomplish that. There is nothing wrong with them, but there is also nothing unforgettable enough to send the film into the realm of great stories.

I won’t spoil anything, but two plot points of serious importance to the narrative are set very near to each other, and they essentially cancel each other out, for lack of a better way to explain it. Don’t mistake me; touching moments are found throughout here, such as each time Frank imagines his grown children as their kid self. It’s just that the result of all this is likely to be for viewers to say, “I liked that movie” instead of “I loved it.”

Kirk Jones, who both wrote and directed this film, writes well, however, and he also has an eye for shot variety and use of audio as a director. He also wisely gathers talent around him, one example being composer Dario Marianelli, who provides an elegant score. The other major actors in the film, in the form of Barrymore, Beckinsale, and Rockwell, give good performances and are cast in the right characters it seems. The acting, directing, and script of Everybody’s Fine constitute sturdy work, though forceful emotional engagement is not quite achieved.

THE VIDEO

The 2.40:1 anamorphic widescreen picture is sharp with no problems. Colors are vibrant.

THE AUDIO

The 5.1 Dolby Digital Surround Sound is crisp and clear. There is also a French language track, as well as French and Spanish subtitles.

THE EXTRAS

The Making of Paul McCartney’s ‘(I Want To) Come Home’: In about nine minutes, this extra discusses the evolution of Sir Paul’s song for this film. The former Beatle gives an extended interview about seeing the film in his own screening and thinking about ideas. The viewer also gets to see footage from the session where the final orchestration was recorded and mixed. I like how closely McCartney worked with the composer of the film, Dario Marianelli, to create the song.

Deleted and Extended Scenes: There are seven scenes included in this extra, three of which are extended. There are some nice things about some of the material here. I like the longer discussions Frank has with other travelers-- they feel very real. And there’s a cute moment at the end of one of the extended scenes where the day player says he wants a picture from De Niro!

FINAL THOUGHTS

Everybody’s Fine showcases good writing, directing, and acting despite the fact that the cumulative effect of the film stops short of true emotional impact. There is much to enjoy in the film, though it is unlikely to provoke passionate response one way or the other.