As a fan of Salinger’s works, and someone who generally enjoys biopics about writers and creative people, Rebel in the Rye seemed to be right up my alley, but unfortunately fell flat in many places. I felt that Rebel in the Rye did not reveal or add much to what many fans already know about Salinger’s life.
The episodic structure of Certain Women falls closer on the spectrum of ensemble pieces to the dark, flaccid mirth of a film like Weiner Dog from earlier this year rather than the rapturous display of interconnectedness of Paul Thomas Anderson’s Magnolia. However, this is not to say that Certain Women is a bad film. Rather, it is a film composed of three distinct parts — all whose plots intersect in very minor, trivial ways within the same state of Montana — that inherits a problem endemic to “multiple storylines” of this sort: some of the storylines are just much more interesting than others. The film commences with what is probably the weakest of the film’s three stories. A lawyer in Livingston, Montana, performed sufficiently by Laura Dern, is dealing with a disgruntled client attempting to sue his former employer, who later returns to his former workplace and holds a security guard there hostage.