In life (and often times, in movies), things have to get a lot worse before they can get a little better. In “For Worse,” the versatile and immensely watchable “Transparent” star Amy Landecker’s good-natured narrative feature debut as a writer and director, life gets considerably chaotic for Lauren, a sober and recently divorced West Coast mom trying to give a different direction to her life with her newfound freedom.
It used to be that characters like Lauren — usually defined by that somewhat cringe-inducing and overused “women above a certain age” phrase — were a rarity in cinema. But these days — especially considering several terrific recent releases of all sizes like “Suze,” “Bridget Jones: Mad About the Boy,” “The Idea of You” and even “Babygirl” — we don’t seem to be living in that same cinematic world anymore, one that refused to acknowledge the existence, realities and complex sexual desires of women, well, above a certain age. That is certainly good news for all audiences (okay, especially for us aging women) and inquisitive artists like Landecker seem to feel further empowered to honor the intricacies of their own truth as life evolves and takes unexpected turns.
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But it also means that we now have a lot more reference points and high-bars to consider while weighing a film like “For Worse.” As such, Landecker’s modest but likable outing doesn’t always feel fresh on a scene-by-scene basis. You’ve seen some of what she’s got here before — there is the cliched, mid-riff-bearing young wife of Lauren’s ex, there is the annoyingly entitled divorce mediator, there are some clueless but amiable Gen-Z personalities, there is the customary giggle when a well-meaning but dated Gen-Xer accidentally uses the wrong gender identity terminology, and so on. But amid all these checklist items, Landecker still transposes a delicate truth about aging as the secret that almost no one will tell you. And it goes like this: pick any combination, and there will always a discrepancy between the age you feel, the age you actually are and the age young people will assume that you are when they look at you. For a while at least, these discrepancies will only grow.
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Landecker doesn’t exactly spell out this revelation, but feeling its weight through Lauren’s unexceptional but bold adventures still feels like a small, indie-sized treat when she signs up for an acting class for commercials. Taught by a new-agey eccentric (Gaby Hoffman, elevating a stereotypical part), the class introduces Lauren to aspiring young actors from all walks of life. Among them is her attractive screen partner Sean (Nico Hiraga), with whom she shares a mutual attraction and the possibility of something more. With the encouragement of her wisecracking bestie Julie (the film’s other stock character, but one Missi Pyle brightens), Lauren leans further into her feelings for Sean. Sadly, after a deeply honest and awkwardly embarrassing bladder control episode in the bedroom, their fling gets cut short. (Note: may every woman be blessed with a gentleman like Sean in such a tricky situation.)
Still and thankfully, the aforesaid incident doesn’t stop Lauren from attending a wedding with Sean in Palm Springs, which is when things take a real turn towards Lauren’s self-actualization. Acting like an irresponsible young person in her older body out of some understandable jealousy, Lauren finally starts reconciling the above-said discrepancies in her life, with a little help from fellow divorcee and potential romantic interest Dave (Bradley Whitford, Landecker’s real-life partner).
With a significant segment of “For Worse” taking place around the wedding festivities, Landecker pays loving attention to the features of the ceremony, decking the spirited Palm Springs occasion youthfully with believable costumes and lived-in decorations. She also infuses the story’s younger characters — played by the likes of Kiersey Clemons, Claudia Sulewski and Liv Hewson — with considerate details, deepening the movie’s generational themes. Thanks to such attentiveness on Landecker’s part, the wedding chapter of “For Worse” becomes an enjoyable affair to witness: part romance, and part-old-fashioned ensemble-driven comedy.
Still, the heroine of it all is Landecker herself, who plays Lauren with gusto as a woman who increasingly owns up to her well-earned age and enduring sexuality. She also grants Lauren the generous finale (or, the new beginning) that she deserves. “For Worse” might be a tiny step among its kind, but it still feels like a leap for its thoughtful auteur, ultimately celebrating new beginnings as an ageless milestone.
