Sean K. Cureton

Blue Jay: An Appeal to Anonymity

In Movies on VOD: Reviews and Recommendations on December 25, 2016 at 11:25 am
Blue Jay

Netflix

Blue Jay (2016)
Directed by Alex Lehmann
VOD Rating: Liked It

Mark and Jay Duplass are among the more surprising Hollywood success stories of the past ten years. Following the release of their directorial debut The Puffy Chair in 2005, the Duplass brothers have managed to corner the market on the kind of twee, independent feature that was marketed throughout the early 2000s under the Mumblecore banner. But in the years since the likes of Joe Swanberg, Lynn Shelton, and Greta Gerwig became bigger Hollywood names, the Duplass brothers have seemingly struck out even further from the call to becoming mainstream filmmakers. Swanberg and Shelton have experimented with bigger and bigger casts of late, and Gerwig has become a celebrity of un-diminishing notoriety. Meanwhile, Blue Jay sees the Duplass brothers making another movie for themselves that plays to their immediate audience at the risk of flying completely under the radar.

Directed by Alex Lehmann – a career camera operator best known for his work with Mark Duplass on the sports comedy series The League Blue Jay is the first feature film released under a multi-project deal between the Duplass brothers and Netflix. Following its theatrical premiere at the Toronto International Film Festival this past September, the new drama film quietly made its way online earlier this month. Co-starring Mark Duplass and Sarah Paulson, Blue Jay is a meditative glance at two former high school sweethearts colliding into one another during a visit back home. Moving with the same slow-measured pace that has served to define the Duplass brothers’ work behind the camera for some ten years now, Lehmann’s directorial debut sees the Duplass brothers revisiting familiar territory with an abundance of sentimentality and emotion. It’s hard to go home, and in Blue Jay that particular nostalgic odyssey is evoked through two of the best film performances of the year.

Paulson turned heads earlier this year with her work on the original drama series The People v. O.J. Simpson: American Crime Story, and has been attracting plenty of late career attention for her performances on multiple seasons of American Horror Story. But in Blue Jay she and Mark Duplass present what is perhaps the most compelling two-person drama of their respective careers. Blue Jay acts in the same way that Swanberg’s Netflix original series Easy did earlier this year in that it came completely out of left field in a media landscape otherwise dominated by Marvel Studios original series premieres and 1980s throwbacks like Stranger Things. But unlike Luke Cage, Blue Jay was released entirely without fanfare or a ubiquitous marketing campaign. Like Easy, Blue Jay exists and operates in a universe unto itself.

Jeff, Who Lives at Home, which saw initial theatrical release during the summer of 2012, is the biggest Duplass brothers production to date. If the two Mumblecore veterans were going to make it big with general audiences, a studio comedy starring Jason Segel, Ed Helms, and Susan Sarandon would be it. Yet general audiences continued to remain largely nonplussed-to-unaware of the Duplass brothers’ specific blend of quirky comedy and tragedy. In response, Blue Jay marks the first feature length effort from the filmmaking duo since the abrupt cancellation of their HBO series Togetherness, and like the latter Blue Jay sees the two filmmakers continuing to march to the beat of their own drums, popular appeal be damned. Blue Jay offers one of the most compelling tragicomedies of the past few years, and part of its appeal may very well reside in its own unobtrusive anonymity.  

Bue Jay is currently available on Netflix, and is my Movies on VOD: Review of the Week.

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