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.