The Savages

The Savages is a bleak, introspective look at the aging process in our society, and the physical and mental decline that ride along, unable to do anything to change the course. The impact on loved ones as well as estranged is significant, but the question is posed, "is this really how it's supposed to end?" So undignified and impersonal. Our culture has regressed into an age where the elderly are virtually put out to pasture in retirement homes, and the weight of the guilty children who are charged with selecting those final places of unrest is often an emotional mixture of confusion and helplessness.

Fortunately, there is levity thrown into the mix. Despite the serious subject matter, these two miserable siblings manage to come together one final time to choose a proper place for their dementia-plagued father to spend his final days. There isn't much else to say about the story, as this is a character study and social commentary of sorts regarding our treatment of the elderly, particularly our own families. Phillip Seymour Hoffman (when will he just go by Phil Hoffman?) and Laura Linney are perfectly cast as the siblings who reluctantly take on this necessary, but very uncomfortable task. They decide on a place near Hoffman's home in Buffalo, and are torn between their true feelings for the man and what they feel is their responsibility. Both are highly educated, self-absorbed neurotic losers who share their flaws to the viewer one at a time throughout the movie. The banter between the siblings is authentic in every way possible. From the conversations on the phone to the sad reality check in the parking lot. It is made clear from the start that this was not a happy home in which they lived. It is this detail that makes the story all the more stirring.

The performances strike a very personal chord, not because of any familial dysfunction, but because of the inevitable decisions that will have to be made someday, and the regret, guilt, and pain that are inherently associated with those looming decisions. Hoffman serves up a trifecta this year with his performances (Before the Devil Knows You're Dead, Charlie Wilson's War) and will undoubtedly see his name on the Oscar ballot in one role or another. The dialogue and writing is remarkable, but the direction and editing was not. It was a little unrefined and some of the angles were a frankly awkward. Tamara Jenkins (not to be confused with the Olympic kayaker from my high school class) is one to watch in the future (as a writer). No doubt there was a bit of her own life rolled into this story, but it was refreshing and thought-provoking. The cast didn't hurt this film at all either. Overall, 7/10.