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‘Closing Night’ Review: Sarah Paulson and Naomi Watts in Family Drama

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Is actor-turned-director Cody Fern’s debut, Closing Night, intended as a refraction of John Cassavetes’ Opening Night, the 1977 Gena Rowlands vehicle about an actress grappling with a debilitating personal crisis? Seems likely, though that would be just one of several instances of the filmmaker’s aim exceeding his reach. For at least half the movie’s running time, the desired style appears to be the heightened melodrama of Pedro Almodóvar’s tales of turbulent motherhood scarred by traumatic family secrets. But Fern lacks the firm grasp of tone to pull that off, or to smoothly navigate the eventual transition into anguish and sorrow.

The other key influence — intentional or not — appears to be Ryan Murphy, with whom Fern has worked frequently as an actor. There’s a kinship in the arch tone, though sadly, none of the camp. Unless you count Sarah Paulson as celebrated star of stage and screen Sandra Vale, played with a death-stare severity that might be appropriate for her sadistic psycho-nurse in Murphy’s Ratched. All of which is to say that no matter how accomplished the cast, the self-conscious movie only really starts half-working once it gets out of its own way.

Closing Night

The Bottom Line

A soft-impact lurch from archness to angst.

Venue: Toronto International Film Festival (Special Presentations)
Cast: Sarah Paulson, Naomi Watts, Dianne Wiest, Toby Wallace, Odessa A’zion
Director: Cody Fern
Screenwriters: Cody Fern, Devon Bostick

1 hour 55 minutes

Sandra is in rehearsals for her Broadway return in Brecht’s Mother Courage — and therein lies the first clue to her festering secret — but the seasoned pro is having uncharacteristic trouble remembering her lines and motivation. Nonetheless, she sends out formal invitations to her estranged family to attend the play’s opening.

Her jittery sister April (Naomi Watts) bristles at being “summoned” to a reunion after three decades of silence. But she can’t get there fast enough, concerned that her rudderless son Theo (Toby Wallace), who’s living in New York, should be kept away from his self-absorbed aunt. Before April can run interference, Theo drops a bombshell by revealing that he has already connected with the black-sheep diva. The scowling posters of Aunt Sandra all over town suggest that encounter was all but preordained.

April and Sandra’s tart-tongued, boozing mother Diane (Dianne Wiest, in brilliant form) takes a hard pass on the trip from their distant hometown, where she owns a shabby hair salon. But once April starts reporting back, the blowzy old woman — still pissed about Sandra sleeping with April’s boyfriend when she was 15 — hops on a plane.

The first big news to emerge is that Toby’s girlfriend Lucy (Odessa A’zion, wasted in a nothing role) is pregnant, a fact discovered by April when she’s snooping in their bathroom and finds a positive home pregnancy test. (She also randomly steals a hairbrush, the result of a klepto habit that doesn’t add much.) Then when Sandra starts slurring and scrambling her lines before collapsing on the stage, she receives a shattering diagnosis, which helps move along the thaw between her and April — though not so much with crotchety Diane. The biggest secret, however, pertains to Theo and the reason Sandra distanced herself from the family all those years ago. If you can’t guess what that is, seriously, wake up!

The script by Fern and fellow actor Devon Bostick takes a solemn turn in the final act, when Sandra resolves to take a drastic step and enlists April’s support to go through with it. Those developments become lugubrious, though not without affecting moments. But the leap from the seriocomedy of the early action to the sadness and self-recrimination of the concluding stretch is not something the filmmakers negotiate gracefully.

It’s also hard to feel too much for the characters when only Theo, his emotions bounced about among the women, and Diane, who amusingly specifies while making her travel plans that she wants a hotel room with a minibar, seem like real people.

While it’s always a pleasure to watch Paulson and Watts work, Fern forces them to work way too hard. (Certainly harder than they have to work on Murphy’s risibly awful legal soap, All’s Fair, in which performance integrity seems irrelevant.) Sandra and April are characters who might almost have been more at home in some kind of chewy Southern Gothic that didn’t have to rely so heavily on Diane to inject a bit of much-needed humor. That said, Watts does prompt a wicked smirk or two when April instantly appropriates Sandra’s misfortune as her own.

Ultimately though, whether it’s going for caustic dysfunctional family chaos or somber drama, any movie with this lineup of female talent ought to be a lot juicier.

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Richard Curtis Making BBC Audio Sitcom With Bill Nighy, Jim Broadbent

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EXCLUSIVE: Richard Curtis is returning to the sitcom game, this time through audio.

The Vicar of Dibley, Blackadder and Mr Bean writer-director is making Greatest Living Writer for BBC Radio 4 starring Bill Nighy, Nicola Walker, Nick Mohammed, Jim Broadbent, Meera Syal and Traitors star Madelyn Smedley. It is Curtis’ first sitcom in nearly 20 years and his first for audio.

Launching on Boxing Day on Radio 4 and as a BBC Sounds box-set two weeks prior, the series centers on John Westlake (Nighy), a literary titan whose towering genius has earned him global reverence, lifelong indulgence, and absolutely no useful social skills. As those around him absorb the blast radius of his genius, the series plays with creativity, legacy, literary celebrity, family, and the uncomfortable truth that being good at writing does not necessarily make you good at being a pleasant person. The character draws comparisons with the iconic Billy Mack, who Nighy played with aplomb in Love Actually.

Curtis is an Oscar-nominated British screen legend whose movie credits include Notting Hill and Four Weddings and a Funeral.

His last TV sitcom was The Vicar of Dibley, which concluded on the BBC in 2007. He has recently turned to animation: writing and producing Netflix’s That Christmas in 2024 and now producing Not Alone for Universal.

Curtis said: “I’m loving working in this tight 15” minute format for the BBC – writing for performers I know and love – and writing something that’s about the creative world I have such direct experience of, as it crashes into family dynamics.”

Script editor Emma Freud added: “Of all his writing, this is the closest Richard has written to his life, his world, his home and his experiences. It’s been a joy to see the scripts flowing out of him – I’ve never seen him write so fast or enjoy the process as much. He isn’t the brute at the centre of this comedy – but that brute is, I think, how he would secretly like to behave if he could. Which he can’t.”

Goldhawk ProductionsGreatest Living Writer is produced by Emma Hearn, John Scott Dryden and Alex Hollands and script edited by Freud. It comes on a BBC audio slate that includes pilots from Nish Kumar and Jake Bhardwaj, along with stand-up and quiz shows.

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Jodie Whittaker To Star In ITV Drama ‘In Contempt’

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EXCLUSIVE: Jodie Whittaker‘s next starring role will be a hotshot media lawyer in ITV drama In Contempt.

Ahead of her role in Hulu pilot Chicks and a part in the London-set Only Murders in the Building Season 6, Whittaker will star in the “high-stakes” legal drama as barrister Olivia Savareid.

The character’s top-drawer advocacy skills have built her a career defending people’s reputations and engaging in multi-million pound litigation to prevent their names from being destroyed on social media, but the series will see the tables turned on her.

Sherlock and Dracula maker Hartswood Films is producing in association with its parent, ITV Studios (ITVS), with the show airing in the UK on ITV and STV and on streamers ITVX and STV Player. ITVS has international distribution rights.

Steve Thompson (Sherlock) is the writer, with Sue Vertue and Steven Moffat the executive producers. Ed Bazalgette (The Last Kingdom) is the director and Lawrence Till (Douglas is Cancelled) the producer. ITV’s Director of Drama, Polly Hill, who commissioned the show is also overseeing production for the broadcaster.

In Contempt establishes Olivia’s challenging working relationship with veteran news director Greg Dalman, who edits a London daily newspaper prone to pushing the boundaries of what can be published. With a reputation for taking no prisoners, Greg has the capability of acting recklessly if he believes it’s in the public interest, and and as his legal counsel, Olivia, must summon all her skills and expertise to keep him out of libel court.

She is also the mother of 15-year-old daughter, but when an explosive situation erupts at work, she makes a crucial misjudgement and Olivia’s own reputation is suddenly on the line.

“There’s always been a voracious appetite for what happens behind the scenes before news stories are published,” said ITV’s Hill. “Steve has created a gripping and thought-provoking series and I’m thrilled Jodie Whittaker has agreed to play ‘hotshot’ lawyer Olivia Savereid. I have no doubt In Contempt will captivate our audience, as it’s a really timely story for ITV to be telling.”

Whittaker, known for leading Doctor Who and ITV drama Broadchurch, said of her role as Savareid. “This is an amazing character in a world I haven’t explored before. Steve Thompson’s writing is an absolute joy to work with and I’m so excited to be embarking on this adventure with such a brilliant creative team at Hartswood Films and ITV.”

Vertue said she had been seeking to work with Thompson again since BBC series Sherlock, but that “it was never the right time or the right idea” until now. “Then one day he sat down and said, “In the modern world, if you want to kill someone, you don’t use a gun – you destroy their reputation,’ and so began In Contempt.

“A whirlwind drama of cancellation, online poison and media law, where there’s less than 12 hours to stop a headline that could detonate someone’s life. This is the story of now, and this is the series for today. I’m delighted to be working with ITV again and to bring to screen Steve Thompson’s most explosive and personal drama yet.”

Thompson called the show “a signature piece for me”, adding: “It unpacks the challenging relationship between the media and the law – between the freedom of the press and people’s right to privacy. In a world where all of us are surfing the net, hungry for the latest gossip, this drama takes us behind the curtain and shows us the lawyers who are in the vanguard of that fight.”

In Contempt will begin filming in London in the fall with further casting coming closer to production commencing.

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Disney Strikes K-Pop Deal With Kakako In Korea

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Could Disney be about to unearth the next big K-pop hit?

Disney Korea has struck a deal with Kakao Entertainment to launch what they are calling a “K-culture fund” and is aiming to pursue around 10 projects over the medium to long term.

The pair will “collaborate on projects that bring together K-pop IP and Disney’s stories and characters,” they saiid, “aiming to take the K-IP ecosystem to the next level and create new opportunities on the global stage.”

Disney and Kakao stressed that the “K-culture fund” still needs to be ironed out, but they hope to do it. Neither company put a figure on the fund.

Disney is a major player in Korea, with hits including Moving, its first original show in the region. It streams a number of K-pop movies and docs including ones focused on giants like BTS.

Founded in 2021, Kakao Entertainment is an offshoot of Korean media giant Kakao, owning agencies, production companies and entertainment arms.

In coming together, Disney and Kakao are clearly looking at the runaway success of KPop Demon Hunters, made by Sony and shown to the world on Netflix. The animated musical about rival K-pop bands who live double lives as demon hunters was undoubtedly the biggest hit of last year and has had a major impact on K-culture.

“K-pop today has evolved into a global cultural phenomenon shaping trends across areas including fashion, beauty, and lifestyle,” a spokesperson for Kakao Entertainment said. “Through this partnership, we look forward to bringing K-pop artists and music together with Disney’s stories – which have been loved around the world for generations – and expanding them into new worlds. We expect this to offer global fans a special kind of joy and inspiration that they have never experienced before.”

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