Remember when your mom, kindergarten teacher and babysitter all yelled at you for running with scissors? Carry those hazardous, sharp-edged objects with caution, they used to say, lest you take someone’s – or your own – eye out.
What if, instead of heeding those warnings, you lived in a chaotic world where everyone recklessly disregarded each other’s feelings and operated in a perpetual state of mental frenzy? Welcome to the plot of the aptly-titled Running with Scissors, a zany film based on a memoir of the same name by best-selling author Augusten Burroughs.
Quirky sensationalism runs rampant through the film, especially in the unusual relationship between young Augusten (Joseph Cross, Flags of Our Fathers) and his mother Deirdre (Annette Bening, Being Julia and American Beauty). Deirdre is convinced she is destined to become a world-renowned poet and works tirelessly to have her talent realized by those she loves. At the tender age of 7, Augusten watches impassioned performances of his mother’s poetry readings, relaying feedback beyond his years. Deirdre gives Augusten money, allows him to routinely skip school and depends on his opinions more than she should to improve her work.
The unique relationship between mother and son leaves no room for Augusten’s father, Norman (Alec Baldwin, The Aviator). Norman is the most convenient punching bag for the overzealous Deirdre, who blames him for her artistic failure. Shut out by his wife and confused by his son (Augusten habitually polishes his allowance because he likes to see it shine, of all awkward, unnecessary hobbies), Norman remains isolated and uninvolved.
With her marriage in shambles, Deirdre seeks out the expertise of the delightfully nutty Dr. Finch (Brian Cox, Match Point). He is the quintessential Freudian guru – with a few extra quirks. For example, just behind his office is a sacred room that he majestically calls “the masturbatorium.”
It soon becomes obvious that the dwindling Deirdre can barely look out for herself, much less her son. In a comically devilish twist, Augusten is brought into to the Finch household and formally adopted by the Finch family.
This is where the film ups the ridiculous ante, as anything goes in the Finch home. The doctor’s daughters, Hope (Gwyneth Paltrow, Infamous and Proof) and Natalie (Evan Rachel Wood, Thirteen) introduce Augusten to a household where electroshock therapy is a game for rainy afternoons, perusing the Bible determines what’s for dinner and dog food is a delicious afternoon snack.
The family that the Finches are based on recently sued him for defamation, invasion of privacy and emotional distress, according to the lawsuit. Burroughs sensationalized much of the memoir in order to gain commercial acclaim, the family says, and it recently settled out of court with Sony Pictures Entertainment, the company releasing the film.
However, a $2 million lawsuit by the family against Burroughs and his publisher, St. Martin’s Press, is pending.
Although the Finch family’s characters are unbelievable, their quirks are only skin deep; with so many people in the film, none of them are adequately developed. The worst example of this is Hope, whose character makes some amusing remarks throughout the film – after all, Finch does call her his “favorite daughter” – is never developed past her witticisms.
Bening mixes drama with her comedy-fueled role and shines as the powerful, self-aggrandizing Deirdre. She is poetic, almost hypnotizing as her madness deepens, but as Augusten tries desperately to understand his mother’s plight, she sinks further into despair. Bening is the perfect reflection of a tragic hero as humorous, heart-breaking and honest all at once.
As the off-kilter Dr. Finch, Cox also turns in a great performance. The characters around him are so over-the-top, Cox’s understated performance is a refreshing balance to the rest of the film.
Writer and director Ryan Murphy (creator of FX’s controversial plastic-surgery soap opera Nip/Tuck) has found the ideal vehicle to launch a promising film career. His steady hand and deep understanding of the material make both mediocre scenes memorable and good scenes sparkle. But although the film is full of good actors and amusingly bizarre characters, Running with Scissors works better as a compilation of well-done scenes than a complete film. There are many lovely moments, but ultimately, nothing ever fuses together to form one unified movie.
Running with Scissors won’t be a complete waste of your time, but it is a sub-par film that had the potential to be great. Nevertheless, the clever and biting dialogue coupled with Bening’s poignant portrayal make for some deliciously jaded, The Royal Tenenbaums-esque cinema.
Contact reporter Kristi Ellingsworth at
ellingsworthdbk@gmail.com.
