Toni Collette pioneers a new acting technique in Mafia Mamma: resting mugging face. rockmarooned's review of this gangster girlboss tragedy:
is a particular throwback to the turn of the 21st century, when Warner Bros.
Kristin’s workaday life is introduced in a series of humiliations that audiences everywhere will hope get better – not necessarily Kristin’s situation, mind, but the jokes and their timing. Faced with a son leaving the nest for college and a cartoonish man-child of a philandering husband, goaded on by her sassy minority bestie Jenny who lives only to serve and sometimes say “vagina,” Kristin says yes-and to a surprising phone call about the death of the grandfather she never knew.
. Only – get this — Jenny, being, again, a sassy minority character who lives to serve and sometimes say “vagina,” amends it toUpon her arrival in Italy, Kristin immediately falls in lust with handsome young pasta-maker Lorenzo and, shortly thereafter, discovers that she is being recruited to run the family business. Longtime family consigliere Bianca knows more about the ins and outs, but isn’t a family member; fiery-tempered Fabrizio feels he’s being passed over.
How in the world did Nia Vardalos not write, direct or star in this movie? At least Toni Collette has learned from her erstwhileco-star, bravely pioneering a new paradoxical acting technique that will be known going forward as resting mugging face. Even in Kristin’s quietest, most contemplative moments, Collette can’t stop bugging her eyes or yanking down her mouth – which, to be fair, is a natural reaction to being repeatedly poisoned over the course of 101 endless minutes.
Screenwriters J. Michael Feldman and Debbie Jhoon, working from an “original idea” credited to novelist Amanda Sthers, have sitcom experience, but maybe not enough of it; the cornball contrivances never form their own comic language. Or maybe this just isn’t the area for director Catherine Hardwicke, best known for movies with a harder edge (
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