Despite impending plans of an exciting US book tour that could see author Edward break into a new market, the poor health of his mother keeps him at home with her. Complicating matters even further is the arrival of three mothers, dropped off by their sons seeking their own escape, leaving Edward juggling the needs of each of the four women while facing his own personal challenges. A heartwarmingly sincere and consistently entertaining comedy-drama, Four Mothers’ superb ensemble and resonant approach to its touching storylines lead to one of the most impressive genre efforts of the year.
Understanding the strength of simplicity, Darren Thornton and Colin Thornton’s Four Mothers screenplay is narratively straightforward but enriched by a sharply executed set of themes which bring texture to what could have been a rote examination of its story. A comedic concept at its core, the strength of these characters - all afforded their own flourishes of development and personality - elevates the piece considerably, with the intergenerational script toying with conventions of the ageing process to create a set of familiar characters we relate to and recognise; similarly, the exploration of the gay community feel particularly relevant and insightful, mostly amusing but landing on something profoundly true in its how gay people often find themselves continually trying to discover themselves. In these types of astute observations, Four Mothers can leave audiences with the lasting impact it does long after the credits have rolled.
Thornton’s direction is uncomplicated yet strong, creating the space for the characters, their ailments and their concerns. Exploring the dynamic between Edward, his mother and their new lodgers, Thornton leans into the amusing anarchy that is the older generation, while never losing sight of Edward’s own struggles, ensuring that the laughs never come at the expense of or understanding of who the characters are and want to be. Particularly well edited, increasing much of the laughter with a sharp sense of pace and rhythm, the film’s 89 minutes flies by, and it’s the exact sort of understated filmmaking that these films benefit from.
Four Mothers' cast is sublime, and certainly one of the strongest ensemble efforts of the year so far. James McArdle’s lead turn showcases the struggle of trying to keep your head above water in times of pressure; rendered with a vulnerability that wonderfully summarises the overall film's mission to dig deeper than many others would perhaps attempt, McArdle is a real asset. Fionnula Flanagan is another standout, playing Edward’s mother suffering the effects of a stroke that has taken her speech; laced with beautiful subtlety, Flanagan reaches the humour and drama of the task effortlessly. Each of the actor’s work feels so distinct to them
Four Mothers confront both familial frustrations and love in one of the most sweetly balanced, consistently funny comedies of the year. Written with overwhelming heart but well-textured to go beneath the comedic surface, it is both penned and directed in an understated, thoughtful manner and the film thrives as a result. Tacking sexuality, the evolution of grief and the frustrations of ageing, Four Mothers is as earnest as they come, an uncomplicated delight because of its sincere approach and terrific cast.