In 2005, Amy Adams became a major star and Oscar nominee for Angus MacLachlan’s indie hit “Junebug.” His new film at Sundance stars Levy, and she’s poised for a similar breakout.
star portrays a Southern sweetheart named Tammy, first seen waking up next to a partner whose physical affection contradicts the fact that he is still fully clothed, having presumably stumbled into bed at some profane hour after heaven knows what.
Tammy's closest bond is not with her spouse, David. It's with his mother, Venida , and especially his attentive father, Bill . They are her surrogate family. If her marriage falls apart, she risks losing them, too—a causality that would upend the comfortable life Tammy has built. Movies love to portray in-laws as pests , butfinds resonance in the profound bond that can form among the few people who intimately understand a loved one's complexities.
Some nuances of David and Tammy's problems are best left unspoiled, but the primary wedge between them concerns the affair David is having with a co-worker at his father's sheet-metal company. When Bill finds out about the affair, he wants to protect Tammy. "Straighten up and fly right," he instructs David, aware that his son's indiscretions could cost him the daughter-in-law he holds so dear.
One of MacLachlan's wisest choices is to keep David at arm's length, not because he's entirely unsympathetic but because his stakes are lower. David gets to keep his family no matter how much he screws up, whereas Tammy will have to find a new support system if they separate.isn't about conflict so much as it's about the ways conflict ripples out and changes the fabric of multiple relationships simultaneously.is lovely, restrained, and often quite funny.
There's a bit more happening on the periphery, specifically regarding David's petulant sister , who has returned home in the midst of her own domestic turmoil. Blissfully, none of's threads are wrapped up with the pat simplicity that can earn the "Sundance movie" reproach. Levy, Strathairn, and Weston submit career-epitomizing work, capturing as much in what goes unsaid as they do in dialogue.
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