The nest of affection and resentment has fueled great family films, some charged with an indisputable clarity. From ironic visions of reunions until drawing makeshift battlefields mounted between four walls, dirt air always gives game. Can serve to articulate these truths Templar confrontations about an institution far from exemplary archetype released by the American cinema in most of its history. If talent comes, make the diagnosis of multiple traumas as drivers of an earthquake is announced to challenging. But Jonathan Demme, career desnortada something that mirage that silenced after more than a lamb, can not enrich the list of great surgeons of domestic tensions, not Noah Baumbach's recent and dispensable Margot at the Wedding (2008) -. The prism with which to tear down takes many forms placidity masks a sharp drama, but also predictable in the swamp that seeks to explore. 
Vertices of the conflict are two sisters, the marriageable title and the baby of the family, on probation for a drug abuse center. Needless to say, dialectical crosses between them and the rest of the clan channeled the analysis of these pillars eroded by the secrets, the cloudy shadow of a painful past to mark the days. Anne Hathaway-better than ever, which is not saying much, is reinserted to life through the wrong path. Da stop at nothing less than a den of cynicism and verbal fireworks, to a banquet farce and free thinking that will put on the wire and make you question the resilience of a false happiness. Nothing new under the roof of a story that is decorated with the same: tense dialogues, reflections canapés, and a lot of interracial love, second chances, of alleged catharsis 
skinned base each other. Demme is seduced by the atmosphere Bergman's interior, including a verbose and neurotic Allen: A task sterile. The bet is lost in the aesthetic device, clearly inspired by the dogma that rules the European diluted soon as suddenly as it arose. La rígida obediencia al modo de rodar propia de von Trier, Vinterberg y pocas celebridades más busca hacer visible las tensiones íntimas de los personajes, la ebullición emocional, la sarta de reproches airados, de secretos soterrados bajo la estampa teatral del enlace. El uso del efecto se convierte en abuso, y acaba revelándose pretencioso, a ratos tedioso, en otros tramos innecesario si atendemos a un esquema de disfunciones acomodado en la ortodoxia. Ciertos genios de la disección lo hubieran moldeado a chorros de ácido sulfúrico. Lo natural discurriría ante nosotros por la fuerza misma del guión, no como fruto de ombliguistas acrobacias visuales. 
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