In Dustin Guy Defa’s film "The Adults," Michael Cera delivers a memorable performance as Eric. Eric is a poker player who’s been estranged from his family. Notably, he breaks into a Marge Simpson impression that serves as a barrier to revealing his real emotions. He shares this unique coping mechanism with his siblings, Rachel (played by Hannah Gross) and Maggie (Sophia Lillis). The trio also spontaneously erupts into song and dance numbers. This is a practice that used to be a familial bonding experience but now serves as a diversion from conversations.
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The film intelligently tackles how family connections can become shallow interactions. "The Adults" dives deep into the masks people wear to avoid vulnerability, capturing the essence of familial superficiality with no irony whatsoever. It addresses this universal issue with a blend of humor and insight, steering clear of both excessive flashiness and sentimentality.
The premise of the film may seem all too familiar. Eric returns to his family after a long hiatus and must confront unresolved issues and emotions. His sister Rachel is far from thrilled by his homecoming. She’s upset by Eric’s apathy towards her past difficulties, including the loss of their mother and inheriting the family home. Her character, swathed in monochrome attire, exudes a poignant coldness, representing the emotional exhaustion of someone who feels neglected.
Eric only exacerbates Rachel's irritation by insisting that his stay will be brief. He even lies about his other commitments, choosing to stay at a hotel despite having sisters who live nearby. During a family outing, he fakes a phone call to avoid interaction, heading to a claw machine instead. Rachel is concerned about how Eric’s return will affect the more innocent Maggie, who is genuinely happy to see him but unaware that his primary aim is to win at poker.
Maggie, unlike her cynical sister, harks back to the days when the siblings were close. In a poignant backyard scene, she becomes the first to initiate a song, with Eric hesitantly joining in. Lillis’ portrayal of Maggie offers a mixture of innocent enthusiasm and disturbing vulnerability, shining through the film's prevailing atmosphere of familial disarray.
Michael Cera’s return to a leading role is another highlight of "The Adults." His portrayal of Eric is charged with a gripping intensity that manifests itself in both unsettling frowns and outlandish impersonations. In scenes where he engages in poker, he portrays Eric's arrogance layered with a sense of deep-rooted insecurity. Cera proves that his minor role in Aaron Sorkin's "Molly's Game" was more than just a one-off; he truly has a knack for psychological subtlety.
The film succeeds not just because of its story, but in how it tells it. It delves into the nuances of a dysfunctional family that can harmonize in song but fails to truly connect. Enhancing this atmosphere is Alex Weston’s delicate, jazz-infused score, which seems to tread carefully around the film's emotional complexities. The cinematography by Tim Curtin adds another layer, capturing wide shots where Rachel and Eric stand at a distance, a visual metaphor for their emotional estrangement. When Eric finally joins his sisters in a dance, it’s a moment that teems with both hope and a lingering sadness, encapsulating the film's complex emotional terrain.
