Mary Goes Round

Much better than I expected. ALL performances were convincing and the storyline didn't sugar coat the issues. Truly a hidden gem.

An excellent film that tells its story extremely well.

The acting, directing, editing and dialogue are all done well. Scene transitions are crisp and competent, and the filming is superb. All of that provides a tight and concise framework for an earnest and powerful delivery of an individual's story encapsulated inside of some brilliant social and familial commentary.

The humor is spot on and delivered when needed, not in any mean or slapdash way, but in a often deprecating, yet compassionate, style that helps the story move along.

As I noted, the acting is well done, not a weak performance that I can recall, and strong performances from the four leads. Similarly to reiterate my praise for the direction, the film is well filmed, edited and paced, with no distractions to the audience due to sub par technical or production aspects.

This is 90 minutes well worth your time and I imagine it will become a personal favorite for many people because of its charm, sincerity and the personal relationship many people in the audience have with substance and family issues.

When you are drawn in to the vulnerability and honesty of a story, it is a gift. The performances are all incredible and the direction keeps it real. Human flaws balanced with a semblance of hope. This will be on my mind for some time to come and that, to me, is what great story-telling does. Well done. Highly recommend you watch this beautiful Canadian film.

Molly McGlynn's "Mary Goes Round" does many things well, but perhaps it's most endearing and defining quality is the brilliantly unique and original yet completely honest tone that it contains.

It can already be summed up simply with the most basic bio of it's protagonist Mary: an addictions counsellor who is herself an alcoholic. It's a concept that has an inherent sadness and brutal honesty to it, yet it contains a funny irony to it that is inescapable. Where other films try and fail to balance drama and comedy well without one undermining the other, "Mary Goes Round" never shows any sign but simply keeping its story and characters as real and honest as possible.

Aya Cash perfectly captures Mary's spunky energy, using awkward and often unintentional humour to alleviate the uncomfortable situations within the film in a way that seems so effortless and natural that you would never believe the film was scripted. One could easily see Cash having a huge future as a comedienne if she wasn't also so damn good at the dramatic scenes as well.

The rest of the cast effortlessly carries the story along as well, never playing the serious moments as melodrama and always keeping them grounded within reality that is still tragic while never feeling too dramatic to be believable.

Cinematographer Nick Haight also deserves a lot of credit for fearlessly keeping us trapped in uncomfortable situations, holding on tight close-ups of the characters in situations they most want to escape from; Mary being asked to admit to her own addiction problems, her estranged father Walt, played with gentle grace by John Ralston, having a heated argument with Mary on his deathbed in what could potentially be their last conversation, or Mary and her half-sister Robyn, played by the young but skilled beyond her years Sarah Waisglass, bonding for the first time over tales of their own dysfunctional behaviour and personal issues. By keeping us trapped looking deep into each character's face, the film is able to force us to confront the dysfunction in their lives in a way that is both uncomfortable yet incredibly cathartic and moving when we feel the same release as the characters do as they learn to overcome them and see that life moves on.

With "Mary Goes Round," McGlynn has made a film that allows us to empathize deeply with its characters even though we may not have similar stories ourselves by allowing the emotional core of everything shine through so strongly that we can all connect it to our own lives. It's a rare achievement, but one that McGlynn and her cast and crew handle with such grace, beauty, and fun, that it's hard not to love going 'round with Mary.

No doubt had this premiered at Sundance and had been lauded with the laurels of American media this would have been a breakout hit. Sadly, it's likely destined to register with few people, especially in Canada, where "Canadian movie" is still a loaded term.

And that's too bad. This is an indie Canadian movie that moves beyond what one might expect from this repertoire, that is, earnestness and self-consciousness. Rather, MGR clearly takes place in Toronto and Niagara Falls (with a reference to Timmins) that takes such geography for granted, rather than fetishize the locale in the ol' rah-rah-Canada! of yore. This kind of mature gesture extends to the other aspects of the film: an excellent cast (really, not a single misstep in casting), a tight script, and deft editing and direction.

Some moments are laugh-out-loud funny, which serves to heighten the drama (and vice-versa). Mary is an alcoholic, as are other characters, and AA is foregrounded; but the film never engages any kind of moralism or sentimentality or neatly-resolved angst often typical of similar-themed movies. No Hallmark-card moments. Just an engaged and absorbing 90 minutes.

Had the film better funding no doubt it could have amped up the production values, mostly in lighting and sound. But what it does accomplish on its budget speaks to talents of all involved.

Already one of my favourites of 2018.