This ‘Exit’ can’t leave soon enough
Not even Michelle Pfeiffer can save this ‘French’ confection
“French Exit” behaves as if it has a wholly interesting character at its center.
It’s understandable considering that the 2018 novel of the same name from which it has been adapted — about a Manhattan socialite who, while running out of money, goes to Paris to die — was generally well-received.
It’s rather shocking just how uncompelling the movie version of Frances Price is with the ever-talented Michelle Pfeiffer in the role.
We don’t blame her for “French Exit” — getting a limited theatrical release this week — being such a dud.
It’s also hard to pin it on writer Patrick deWitt, who adapted his own novel and, thus, probably has a good feel for what makes it work.
That, essentially, leaves director Azazel Jacobs to take the lion’s share of the blame. In his hands, the vaguely surreal “French Exit” is mildly quirky but painfully slow. ( Think a Wes Anderson film largely stripped of its parts.)
On top of that, the characters surrounding Frances — especially the story’s secondmost important, her directionless son, Malcolm (Lucas Hedges) — generally are far duller than she is.
A financial adviser tells Frances that what he has been warning her about has become reality: She is broke, her bank accounts having run dry 12 years after the death of her wealthy husband, Franklin ( Tracy Letts).
“My plan was to die before the money ran out,” she says, adding that her death kept not happening. “And here I am.”
She agrees to sell her remaining assets and accepts a friend’s invitation to stay in her Paris apartment. Malcolm tags along, and also on the trip to France is Small Frank, a cat that Frances believes possesses the soul of her husband.
Once in Paris, with Small Frank having been snuck through customs, Frances reluctantly befriends the eccentric Mme. Reynard ( Valerie Mahaffey), who was fascinated by Frances from her own time in New York.
“French Exit” primarily is concerned with being a character study. And while the primarily self-involved Frances does have a real soft spot for the downtrodden she encounters, she is worth only so close an examination.
Initially focused on getting rid of her cash on hand alarmingly quickly, Frances ultimately becomes obsessed with finding Small Frank after he runs away into the Paris streets.
It’s not as if “French Exit” is never fun, but even its better moments — such as a seance aimed at communicating with Small Frank and/or Franklin — feel like missed opportunities.
Mostly, though, the film just drags and drags. Pfeiffer is fine, but she has had better opportunities to shine in her lengthy career and in recent years.
Meanwhile, Hedges — who earned praise for his performance in 2016’s “Manchester by the Sea” — is as bland here as in last year’s “Let Them Talk.”
It’s hard to say if Jacobs simply was the wrong choice to direct this story. That’s certainly how it feels, however. About the best he has to offer is some lovely scenery in Paris, although the film also reportedly was shot in Montreal.
By the time “French Exit” blissfully comes to an end, it’s difficult to be all that invested in whether Frances takes a permanent leave from this world. You’re just happy to see the film walk out the door.