The Good House

You might not buy all the plot machinations, but as for the sight of Weaver and Kline together again: That’s an easy sell.

The pair generate heat and heart connection in a mature sleeper that’s ultimately about the struggle to live an authentic life.

Even when the film falters, Weaver consistently finds room to explore the many fascinating flaws revealed by her character’s addiction.

Sigourney Weaver deserves awards attention for turning what could have been a cliched dramedy about a real-estate agent, who’s a functioning alcoholic, into something funny, touching and vital. And cheers to Kevin Kline as the dazed dude who loves her.

Weaver is so forceful and present she can plow through the movie’s flaws until we fail to notice them. For a film about denial, that sounds about right.

This is a gorgeous role for the endlessly talented Weaver, who gives a layered, deeply lived-in performance, one of the best of the year.

The Good House has all the ingredients. They’ve just been overcooked.

File this under movies that start slow but get better as it progresses, topped with a satisfying ending. Sigourney Weaver and Kevin Kline's reunion is definitely the reason to see this.

Portrait of an accomplished real estate agent suffering from alcoholism and the disease of playing God.

Sigourney Weaver's feisty performance as an alcoholic real-estate agent is the main reason to watch this uneven dramedy. The movie's storyline about seeking a redemptive comeback is handled better than the movie's storyline about finding love.