Millers in Marriage, 2025.
Written and Directed by Edward Burns.
Starring Gretchen Mol, Julianna Margulies, Minnie Driver, Edward Burns, Morena Baccarin, Benjamin Bratt, Patrick Wilson, Campbell Scott, Brian d’Arcy James, Elizabeth Masucci, Leslie Kritzer, Paco Lozano, and Tricia Alexandro.
SYNOPSIS:
A tale of three middle-aged married couples coming to grips with universal questions about marriage and fidelity, professional success and failure, and the challenge of finding a second act.
Rather than focusing on a singular marriage, the latest film from writer/director Edward Burns (who also has a key acting role) observes three Millers in varying degrees and types of dysfunctional matrimonies. From that, one might also get the impression that these marriages and families (all of which are recent or have been empty-nesters) will intersect and dole out valuable wisdom to one another, but that aspect is surprisingly restrained and kept to a minimum (there is one dinner sequence between two families, and then another meeting between two siblings near the resolution.) That choice is by thought-provoking design (one Miller is in a questionable marriage, doesn’t seem to realize it, and doesn’t see what a sibling sees in a much worse partner, seemingly having little contact with one another over it) gives Millers in Marriage the feel of an anthology film, even if it technically doesn’t qualify as one. It also comes with the same weaknesses: some of these dynamics are more interesting than others.
There is also a throughline of dreams passed by, unfulfilled potential, jealousy, and how life changes, opening the door for new beginnings. One of these relationships is more stable and healthy than others, coming across as if the partners have lost the spark. Another is much more volatile and fueled by alcoholic narcissism (certainly something new for reliable horror presence Patrick Wilson.) Then, there is a love triangle that includes insecurity, manipulation, lust, indecisiveness, and commitment issues.
Aside from the theatrics of Patrick Wilson’s touring rock artist Scott condescendingly shouting and swearing his way through a scene, typically berating his wife Eve (Gretchen Mol) for believing that a music critic (played by Benjamin Bratt and credited as just that) who once had a crush on her 40 years ago is interviewing her for a book with sincerity that her band had untapped potential back in the day, with Scott asserting that it’s a puff piece the critic doesn’t intend actually to use and is merely searching for a way inside her pants (the liveliest marital discord here), there is a quiet presentation to the film that typically isn’t interested in yelling and arguing but instead a dialed back approach to tumultuous relationships.
Renée (Minnie Driver) is in love with the recently separated but still legally married Andy Miller (Edward Burns), and the two express mutual interest in getting together. Possibly throwing a wrench into those plans is the more extroverted, seductive Tina (Morena Baccarin) expressing to Andy that she thinks she might have made a mistake breaking things off. The first scene they share shows that Tina is comfortable using shady methods to get what she wants. That said, it becomes a matter of what Andy wants and if he would even be a good match for someone like Renée, who has heavy trust issues over a disastrous marriage.
Then there is Maggie (Julianna Margulies), a successful novelist who has found more acclaim and respect than her husband Nick (Campbell Scott), who had critical raves from his first book but was panned into a defeatist attitude following his sophomore effort. The latter is now visibly jealous of the former, disinterested in her work. He has also become reclusive and has to be ordered to tag along to a dinner to meet Andy’s new girlfriend, Renée. It’s a loveless marriage, with Maggie experiencing the opposite once she starts casually hanging out with the supportive Dennis (Brian d’Arcy James), which gradually turns into something romantic and adulterous.
As mentioned, Millers in Marriage is a slow burn that doesn’t build to any huge blowup moments, but several smaller ones are effective and reshape our perceptions of these characters; Edward Burns makes them feel like real people worth empathizing with, even if there’s no denying that this film is a heavy serving of rich white people problems. There are some editing techniques, such as playing with chronology or injecting flashbacks, neither of which amount to anything substantial and are more of a misguided attempt at style, but the ensemble is gripping and inhabits the good and flaws of these people, successfully finding their complexity and humanity.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association, Critics Choice Association, and Online Film Critics Society. He is also the Flickering Myth Reviews Editor. Check here for new reviews and follow my BlueSky or Letterboxd
