THE GOOD GIRL (Miguel Arteta, 2002) R

Reviewed: August 29, 2002

Perhaps if Terrence Malick ever made a dramedy, it would play something like this sad, quiet, resigned film. At least the requisite Malick voice-over in is tact; star Jennifer Aniston pontificates in a surreally flat, gentle Southern twang, and she is profoundly contemplative, somewhat odd for a disgruntled 30-year old cashier who seems to be of more limited intellect. These voice-overs cover pretty mini Malick-esque montages, an effective time-crunching juxtaposition (particularly note the section in a wooded area where Aniston starts discussing how all her thoughts turned to death; if this doesn't make you flash to Badlands nothing will). The Good Girl takes the time and energy to develop its supporting gallery with a savage wit; there is the wondrous Bubba "salvation" montage). and a wholly original, funny vision of lower-middle class malaise. It's also dark, disturbing, unpredictable

Aniston performance is remarkable, filled with dignity, poise and tenderness. Forget all of your preconceived notions about her; The Good Girl establishes Aniston as one of the most talented performers of her generation and indicates she has the chops to have a long, healthy, post-Friends career. Her supporting cast provides firm backing: John C. Reilly -- one of the best character actors around -- turns in a deceptively passive performance, revealing a crucial humanity as he turns a potentially deadbeat husband into a good, kind albeit lost soul. Tim Blake Nelson's strange characterization is such a joyous creation here. Jake Gyllenhaal turns in yet another performance as alienated teen (Gyllenhaal better watch his back, or he'll be permanently typecast as a crazy), although I didn't mind the repetition because Gyllenhaal is immersing to watch and the script adeptly emphasizes his character Holden's evolution (I know what you're thinking, but the movie is always one step ahead; that's not a stupid homage to The Catcher in the Rye, it's a direct, comedic reference as Holden renamed himself after Holden Caulfield, rejecting the "slave name" his parents provided him at birth). If Holden starts as Donnie Darko, he graduates to pure insanity. (Back to Malick for a moment: Reilly and Gyllenhaal's characters play as if Martin Sheen's character in Badlands was split in half: nice and calm simpleton fused with passionate lunatic while Aniston's caught in the middle.)

The Good Girl -- raw, bitter and cleansing -- is about waking up and suddenly realizing your life is a piece of shit. It's about wanting to take control, to escape, and then finding the irony in your fate. There are huge laughs and revelatory moments of truth.

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