Review: People Like Us
Nowadays you'd be hard-pressed to find someone who wouldn't use the word "dysfunctional" to describe their family, rather it's more to what degree. Sometimes when I've wondered what it would be like to have healthier relationships with a parent or sibling, I'll observe other people who have to deal with worse situations and consider myself fortunate.
People Like Us is the celluloid representation of that other family, headed by a rock of a patriarch who appears to have both emotionally and physically distanced himself from his children. In this case, two families are at stake -- one with his wife Lillian, portrayed by the gracefully aging beauty Michelle Pfeiffer, and a love affair with a groupie that resulted in an illegitimate daughter.
Chris Pine portrays Sam Harper as an estranged adult son who must settle his father's estate after his recent death from cancer. As an LA rock music producer, the amount of vinyl records and photos with rock legends left behind for Sam is enough to make any audiophile or rock historian drool like Pavlov's dog. Unfortunately, Sam has racked up an exorbitant amount of debt and he's more interested in what money his father might have left. Sam is quite pleased to receive $150,000 in cash from the estate of his father's estate, but his excitement is short-lived when he discovers that he is meant to deliver the money to someone else.
Sam comes to discover Frankie (Elizabeth Banks) and her emotionally troubled delinquent son Josh, portrayed by young emerging star Michael Hall D'Addario (Sinister). As confusing as his initial encounter with the pair is, it doesn't take long for him to unravel the mystery of why his father would leave so much money to Josh. However, Sam is reluctant to part with the cash and begins to get to know his sister and nephew as he struggles with his choice.
In the meantime, Sam has to deal with the volatility of other situations of his own making -- a major screw-up at his New York firm where he barters goods, a girlfriend (Olivia Wilde) whom he's not been honest with, and a mother who has her own ghosts and demons to live with. All this turmoil sets up a challenge to the writers to provide enough resolution if anyone hopes to have a happy ending.
People Like Us reunites writer/director Alex Kurtzman with co-writer Roberto Orci, both of whom scripted the 2009 version of Star Trek. Indeed, Pine's character in this film is similar that of the young James T. Kirk -- both are cocky, unapologetic, self-serving risk-takers. As in his previous role, Pine convincingly portrays an initially unlikeable character who addresses his hubris in such a manner that the audience is connected in the end.
Frankie could very easily be an unattractive character, as a recovering alcoholic drug user who has no clue who fathered her son. However, Banks' portrayal conveys an abundance of raw emotion -- whether anger at her absentee father or frustrated love of her son -- that results in an abundance of empathy for Frankie. One can't help but feel sorry for Frankie when she's caught in another lie.
In addition to the strong leads of Pine and Banks, the supporting cast of People Like Us are well-suited and fabulous for this film. D'Adarrio's performance is understated but his wit conveys genuine warmth. Pfeiffer provides a complex but well-balanced thoroughness to her character as Lillian. The only criticism I have to offer on the characterization would be that I would have enjoyed a little less Sam and a little more development of the relationship between Frankie and the nice guy Ted, portrayed by the always endearing and boyishly handsome Mark Duplass. In fact, this film could have easily been just about Frankie and Josh.
Despite my initial hesitation to be engaged by the self-absorbed character Sam of People Like Us, the filmmakers used the hook of music to reel in viewers and audiophiles like me. The soundtrack is a great walk down Memory Lane, whether you are a Liz Phair, Joni Mitchell, Alice Cooper or Clash fan. Even relatively unknown cult bands like Television are referenced, which raised the coolness factor. The musical score by Academy Award-winner A. R. Rahman (127 Hours, Slumdog Millionaire) is a beautiful and emotionally moving tapestry that perfectly complements the rock songs interspersed throughout the movie.
Although some viewers might feel that the ending of People Like Us is a bit formulaic or predictable, I myself didn't suspect anything until the final act. Even then, multiple scenarios were playing out in my head and I was content with the actual denouement despite one unresolved subplot regarding Sam Harper's future. All in all, People Like Us is a thoughtful and compelling film that tugs at both the guitar and heart strings.