Alfonso Cuarón, Cate Blanchett, and Kevin Kline Can’t Overcome Disclaimer’s Too-Familiar Story: Review
The post Alfonso Cuarón, Cate Blanchett, and Kevin Kline Can’t Overcome Disclaimer’s Too-Familiar Story: Review appeared first on Consequence.
The Pitch: When successful documentary producer Catherine Ravenscroft (Cate Blanchett) gets a book in the mail, she’s intrigued by the opening disclaimer: “Any resemblance to persons living or dead is not a coincidence.” And she finds out how true that is when she reads the supposed novel, and it unlocks memories she’s worked hard to suppress for years.
That’s exactly what Stephen Brigstocke (Kevin Kline) was hoping for. Catherine has no idea the elderly widower has her in his sights, but sending her the self-published book was only the beginning of his plans to tear apart her life — his vengeance for the secrets she’s kept close, all these years.
Based on the Book: If nothing else, Apple TV+’s Disclaimer is proof that Nicole Kidman can’t star in every adaptation of a best-selling novel. Not that this feels like Kidman left Cate Blanchett her scraps; the new limited series is top-tier filmmaking courtesy of creator/writer/director Alfonso Cuarón, the Oscar-winning filmmaker behind modern-day classics like Children of Men and Gravity. It doesn’t premiere on Apple TV+ until October, but we’re publishing this review now because it just premiered at the Venice Film Festival. It’s that kind of TV show, prestigious and shiny.
Yet Disclaimer is also very much in line with The Undoing and Big Little Lies and Nine Perfect Strangers and all the other Nicole Kidman limited series that have premiered in the last few years — based on novels heavily driven by twists, with the plot literally fueled by the audience’s need to know what really happened. Critics were advised to watch all seven episodes, and it is indeed a show that is only fully formed by its ending… even if that ending isn’t as satisfying as you’d perhaps hope.
The Ordinary Made Extraordinary: The filmmaking is the reason to tune in, as Cuarón remains such a master at the details which make a project blossom on screen, details that make every moment feel lived-in and authentic. Remember how the Harry Potter movies never felt that magical, until Prisoner of Azkaban? When Cuarón applies that same level of attention to an run-of-the-mill rundown schoolteacher’s home, or a hip and cool production company office, it carries with it a similar level of wonder. What’s more magic than making a potentially forgettable location anything but?
The cinematography by Emmanuel Lubezki and Bruno Delbonnel captures the beauty of key moments and the ugliness of others; some scenes feel truly painterly, thanks to the lighting choices. And while voice-over is always in danger of being too much of a crutch for filmmakers, the nuanced, tender narration read by Indira Varma invokes the project’s literary roots and is always additive to the scenes, enhancing the performances.
An important note for the right kind of person: There are two excellent cats featured in this series, who drift in and out of the frame with the natural, confident ease of indoor felines who know they own the place (even if it’s a set). Cuarón deserves an Emmy nomination just for that.
Disclaimer (Apple TV+)
Oscar-Caliber Talent: On a technical level, everyone rises to the bar set — while it’s such a shame to see Blanchett slumming it like this after her recent triumph in Lionsgate’s critically acclaimed Borderlands, she somehow manages to find some nuance in the material. (This, to be clear, is a joke — Blanchett is predictably outstanding, unafraid to get a little hideous in Catherine’s worst moments. There are not a lot of jokes in Disclaimer, though there is some wry wit to the execution.)
It’s also a pleasure to see Kevin Kline get something substantial and high-profile to dig into, after several years on the sidelines. (No offense meant to Bob’s Burgers, where he remains a regular presence.) Like Blanchett, he too brings remarkable commitment to exploring the worst aspects of Stephen, courting the audience’s sympathy as much as its disgust. There are some notable flashback sequences which use de-aging technology to give us the Kevin Kline of 20 years ago, and it’s flawless work, almost to the point of being unsettling.
You’ve Read This One Before: The major issue Disclaimer faces is that while it’s exquisitely made on many levels, its core narrative fails to escape the limits of its genre. Put it another way: The level of the talent involved, Cuarón especially, is remarkable. But it feels way too similar to other limited series and movies — specifically the ones based on thrillers from the Gillian Flynn section of the bookstore.
Complaining about this feels a bit like complaining about water being wet, since Disclaimer is in fact a novel based on a thriller from the Gillian Flynn section of the bookstore. But the series leans too hard on tropes popular within the genre, which leads to several scenes feeling stale, and the build-up to the ultimate reveal becomes more predictable than one would hope.
And the way this all unfolds ends up feeling like a disservice to the remarkable collection of talent on screen: Beyond Blanchett and Kline, Lesley Manville is a standout in multiple flashbacks, Sacha Baron Cohen proves he can play it straight when the project calls for it, and Kodi Smit-McPhee does what he can with the thankless role of Sullen Adult Son Who Spends Too Much Time on His Phone.
The Verdict: The biggest mystery of Disclaimer isn’t what happened to Catherine, all those years ago. It’s why, exactly, Cuarón took on the project — what specifically fascinated him about telling this story.
In a note sent to journalists, he wrote about he was “immediately drawn to the thematic and character complexity of Renée Knight’s novel, and it inspired me to approach the various perspectives utilizing different cinematic languages to explore how our most deeply held beliefs, often the virtues that define us, can influence our perception of reality.” Those things don’t really come through in the final product, is the problem; every part of the production feels elevated except for the narrative being told, one which gets downright frustrating at times.
Cuarón remains one of our finest directors. Next time, hopefully, he’ll find more compelling source material.
Where to Watch: Disclaimer premiered at the Venice International Film Festival in August. The seven episodes will be released weekly on Apple TV+ beginning Friday, October 11th, 2024.
Trailer:
Alfonso Cuarón, Cate Blanchett, and Kevin Kline Can’t Overcome Disclaimer’s Too-Familiar Story: Review
Liz Shannon Miller
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