'Diane', a character-driven study of a woman coming to grips with her past life choices, aging, loss of friends and family, and most importantly, her ongoing struggle to relate to her drug-addicted son, ws featured at the 2018 Tribeca Film Festival. Mary Kay Place (remember her from the TV series 'Mary Hartman Mary Hartman', or movies 'Being John Malkovich' and 'The Big Chill'?), is quite good as the title character and is in virtually every seen of the movie, which, according to director Kent Jones in a post-viewing Q&A, was filmed in 20 days and has won Best Narrative at the 2018 Tribeca Film Festival. Diane spends the movie always reaching out to others with a helping hand but just cannot seem to grasp the idea that she needs, via those that she helps, to focus inward at times and be at peace with herself and her choices. It is a very interesting movie with several great performances, but at times leaves the viewer scratching their head about timeline, certain images, and seemingly non-congruent scenes, but overall a very good study of a flawed human. By the way...the name Diane is derived from Diana, goddess of the hunt, childbirth, and the forest-very appropriate for the movie's character.
28 Reviews
self-imposed penance
ferguson-629 March 2019
Greetings again from the darkness. In a film that is both grounded in realism as well as playing like an ode to underappreciated character actresses, our wonderment turns to full comprehension once we realize this is the work of Kent Jones. Mr. Jones is one of today's foremost authorities on film, having been a respected film critic, served as director of the Film Society of Lincoln Center, and delivered a tremendous documentary showcasing the conversations of two more publicized film experts with 2005's HITCHCOCK/TRUFFAUT. In other words, he's a man who loves cinema and has both a trained eye and an instinct for what makes a film worth watching.
Mary Kay Place (THE BIG CHILL, 1983) is Diane. Our first reaction upon seeing her is that she has the well-worn, hangdog look of a woman burdened by life. As we follow her around, we soon learn that's very true and that there is even more to her story. Diane is the kind of person who, rather than keep a list of things to do, keeps a list of people for whom she has to do things. And there are many on her list. Chief among these are her dying cousin Donna (Diedre O'Connell) and her drug-addicted son Brian (Jake Lacy). The self-imposed penance Diane pays all day each day stems from a story referred to as "The Cape" ... a long ago act of betrayal and indiscretion that has clung to Diane ever since.
The rest of the cast is filled with faces you'll recognize (and names you can't recall), many for their work in the 1960's, 1970's and 1980's, including: Estelle Parsons (Best Supporting Oscar winner for BONNIE AND CLYDE, 1967), Andrea Martin (MY BIG FAT GREEK WEDDING, 2002), Joyce Van Patten (sister of Dick, ST ELMO'S FIRE, 1985), and Glynnis O'Connor (ODE TO BILLY JOE, 1976). But don't mistake this for some nostalgic tribute - each of these women offer up exactly what's needed for their respective characters. It's a joy to behold their work - and easy to take for granted.
This little Massachusetts community is tight-knit and speaks freely on the lives of each other. There are few secrets. Everyone asks Diane about Brian - her son that lies to her face, acts perturbed when she tries to help, forces her to listen to bible-thumping, and finally comes clean on why he's treated her the way he has. Filmmaker Kent's first narrative feature is an organic character driven story about aging, carrying a burden, striving to make amends, and suppressing true feelings by constantly serving others. When Diane writes in her journal, "My loved ones are gone and I'm left to be", it takes her (and us) closer to her soul than any soup kitchen possibly could. Casserole dishes can only heal so much., and a lead role for a respected actress serves us all.
Mary Kay Place (THE BIG CHILL, 1983) is Diane. Our first reaction upon seeing her is that she has the well-worn, hangdog look of a woman burdened by life. As we follow her around, we soon learn that's very true and that there is even more to her story. Diane is the kind of person who, rather than keep a list of things to do, keeps a list of people for whom she has to do things. And there are many on her list. Chief among these are her dying cousin Donna (Diedre O'Connell) and her drug-addicted son Brian (Jake Lacy). The self-imposed penance Diane pays all day each day stems from a story referred to as "The Cape" ... a long ago act of betrayal and indiscretion that has clung to Diane ever since.
The rest of the cast is filled with faces you'll recognize (and names you can't recall), many for their work in the 1960's, 1970's and 1980's, including: Estelle Parsons (Best Supporting Oscar winner for BONNIE AND CLYDE, 1967), Andrea Martin (MY BIG FAT GREEK WEDDING, 2002), Joyce Van Patten (sister of Dick, ST ELMO'S FIRE, 1985), and Glynnis O'Connor (ODE TO BILLY JOE, 1976). But don't mistake this for some nostalgic tribute - each of these women offer up exactly what's needed for their respective characters. It's a joy to behold their work - and easy to take for granted.
This little Massachusetts community is tight-knit and speaks freely on the lives of each other. There are few secrets. Everyone asks Diane about Brian - her son that lies to her face, acts perturbed when she tries to help, forces her to listen to bible-thumping, and finally comes clean on why he's treated her the way he has. Filmmaker Kent's first narrative feature is an organic character driven story about aging, carrying a burden, striving to make amends, and suppressing true feelings by constantly serving others. When Diane writes in her journal, "My loved ones are gone and I'm left to be", it takes her (and us) closer to her soul than any soup kitchen possibly could. Casserole dishes can only heal so much., and a lead role for a respected actress serves us all.
Mommie Darkest
jadepietro16 April 2019
GRADE: B
THIS FILM IS RECOMMENDED.
IN BRIEF: One of the most depressing yet insightful films about loneliness and old age, buoyed by a strong central performance by Ms. Place.
JIM'S REVIEW: Diane, Kent Jones' bleak character study, is a film to admire but it is also one that disturbs in its gentlest of ways. Far from being the feel-good movie of the year, the film is insightful as it ponders life-and-death issues, yet it grows monotonous in its approach of depicting dysfunction and despair. Literally, Diane travels down too many roads in search of hope and salvation, unable to find any solace, although Mr. Jones, as both director and writer, does successfully avoid the path of predictability on his journey into sadness.
We have all met a woman like the title character before, that saintly do-gooder who fills her lonely days helping others before introspectively helping herself. Mary Kay Place is Diane and she delivers a quiet and devastating performance of a widow whose life is out of sync. (More on this later.)
Mr. Jones' screenplay creates vivid realistic characters in his story about this enigmatic woman, ably handled by his cast. He slowly unveils Diane's past life as we follow her daily routines. Her to-do list occupies her waking hours: visits to her dying cousin in the hospital, volunteer work at the local soup kitchen, frequent drop-ins to her drug-addicted son. Yes, her days are depressing, as she attends funerals of her friends and family on a regular basis. The film rages against the dying of the light and shouts out that we are all in the winter of our lives. So suffer we must...and we will.
The film's dark subject is well matched by Mr. Jones' greatest asset, his masterful use of natural dialog, as he captures everyday conversations between aging family members and friends. There is a remarkable honesty on display, full blown discussions about health and aging, past discretions and their repercussions, and the inability to save loved ones from their demons, amongst other talk of mundane subjects like pasta casserole recipes and hands of gin rummy.
But it is the film's lack of plot and the episodic structure of the film that sends it off track. The direction is in need of stronger pacing. Finely established characters and their relationship with Diane come and go quickly, without much warning or care. Mr. Jones' use of time jumps, sometimes indicating the passage of months or years, and a few jarring dream sequences in the third act confuse rather than enlighten his fine storytelling. (In fact, as the film races to its slightly unsatisfying conclusion, there is an essential mother-son moment that remains unclear as to its inclusion. One just doesn't know if it is another time shift based in reality or a wistful fantasy scene.)
That said, while there is an overabundance of doom and gloom in this tale, the ensemble of character actors in supporting parts make the film all the more appealing. Andrea Martin, Phyllis Somerville, Deirdre O'Connell, Gyynnis O'Connor, Joyce Van Patten, and the great Estelle Parsons make memorable contributions in smaller roles. Jake Lacy plays Brian, Diane's wayward son, with such conviction and skill. His encounters with Ms. Place are the most powerful and emotionally gut-wrenching in this compelling film.
But the movie belongs to Ms. Place and she is in every scene. This talented and underrated actress delivers heartfelt vulnerability and an inner strength that masks her character's broken spirit. Whether Diane is drunkenly dancing alone in front of a neon-lit jukebox in a dingy bar or scrawling poetic thoughts into her private diary about her solitary existence, the character remains a lost and tragic figure. Ms. Place is so nuanced in her wonderful interpretation of a woman trying to escape from the harsh present and her sinful past, with no positive future before her.
Diane chronicles an indelible portrayal of a woman who outlives her friends and family without much joy or happiness in sight. This seriously-minded film is unsettling in its view of the possible harrowing future that seems so commonplace for so many elderly citizens these days. So I must recommend this film with a caveat: Depending on the fullness of your own personal life, or lack thereof, a visit to this thought-provoking film may (or may not) be your best cinematic option. With so much to laud, it remains your call, dear moviegoers.
THIS FILM IS RECOMMENDED.
IN BRIEF: One of the most depressing yet insightful films about loneliness and old age, buoyed by a strong central performance by Ms. Place.
JIM'S REVIEW: Diane, Kent Jones' bleak character study, is a film to admire but it is also one that disturbs in its gentlest of ways. Far from being the feel-good movie of the year, the film is insightful as it ponders life-and-death issues, yet it grows monotonous in its approach of depicting dysfunction and despair. Literally, Diane travels down too many roads in search of hope and salvation, unable to find any solace, although Mr. Jones, as both director and writer, does successfully avoid the path of predictability on his journey into sadness.
We have all met a woman like the title character before, that saintly do-gooder who fills her lonely days helping others before introspectively helping herself. Mary Kay Place is Diane and she delivers a quiet and devastating performance of a widow whose life is out of sync. (More on this later.)
Mr. Jones' screenplay creates vivid realistic characters in his story about this enigmatic woman, ably handled by his cast. He slowly unveils Diane's past life as we follow her daily routines. Her to-do list occupies her waking hours: visits to her dying cousin in the hospital, volunteer work at the local soup kitchen, frequent drop-ins to her drug-addicted son. Yes, her days are depressing, as she attends funerals of her friends and family on a regular basis. The film rages against the dying of the light and shouts out that we are all in the winter of our lives. So suffer we must...and we will.
The film's dark subject is well matched by Mr. Jones' greatest asset, his masterful use of natural dialog, as he captures everyday conversations between aging family members and friends. There is a remarkable honesty on display, full blown discussions about health and aging, past discretions and their repercussions, and the inability to save loved ones from their demons, amongst other talk of mundane subjects like pasta casserole recipes and hands of gin rummy.
But it is the film's lack of plot and the episodic structure of the film that sends it off track. The direction is in need of stronger pacing. Finely established characters and their relationship with Diane come and go quickly, without much warning or care. Mr. Jones' use of time jumps, sometimes indicating the passage of months or years, and a few jarring dream sequences in the third act confuse rather than enlighten his fine storytelling. (In fact, as the film races to its slightly unsatisfying conclusion, there is an essential mother-son moment that remains unclear as to its inclusion. One just doesn't know if it is another time shift based in reality or a wistful fantasy scene.)
That said, while there is an overabundance of doom and gloom in this tale, the ensemble of character actors in supporting parts make the film all the more appealing. Andrea Martin, Phyllis Somerville, Deirdre O'Connell, Gyynnis O'Connor, Joyce Van Patten, and the great Estelle Parsons make memorable contributions in smaller roles. Jake Lacy plays Brian, Diane's wayward son, with such conviction and skill. His encounters with Ms. Place are the most powerful and emotionally gut-wrenching in this compelling film.
But the movie belongs to Ms. Place and she is in every scene. This talented and underrated actress delivers heartfelt vulnerability and an inner strength that masks her character's broken spirit. Whether Diane is drunkenly dancing alone in front of a neon-lit jukebox in a dingy bar or scrawling poetic thoughts into her private diary about her solitary existence, the character remains a lost and tragic figure. Ms. Place is so nuanced in her wonderful interpretation of a woman trying to escape from the harsh present and her sinful past, with no positive future before her.
Diane chronicles an indelible portrayal of a woman who outlives her friends and family without much joy or happiness in sight. This seriously-minded film is unsettling in its view of the possible harrowing future that seems so commonplace for so many elderly citizens these days. So I must recommend this film with a caveat: Depending on the fullness of your own personal life, or lack thereof, a visit to this thought-provoking film may (or may not) be your best cinematic option. With so much to laud, it remains your call, dear moviegoers.
True to Life
Cineanalyst30 May 2020
For me, there's a limited appeal to a movie such as "Diane," which so authentically represents the life of an ordinary woman. Nothing extraordinary happens. She visits the same places and the same people over and over again, almost always either talking about her health and relationship problems or those of others in her circle. If they run out of current shortcomings to discuss, they dredge up past ones. Repeated use of the same camera positions for the same spaces reinforces this repetitive circling, too. When Diane is looking for her drug-addled son again, for instance, the camera again frames her through a doorway from the kitchen. There's a telling scene, where one of Diane's friends searches her mind for another topic to discuss when Diane refuses to talk about her son temporarily. Eventually, they share recollections of the food of the restaurants that have occupied the space they're currently in. It's one of the few moments in the movie when they're not gossiping over their clique.
Mary Kay Place is fine in the titular role, which garnered her some talk of an Oscar nomination that never came, but "Diane" is largely an inversion of the usual parts given to such a character actor--making a protagonist of the mother in a drug-addiction drama, or of the friend in another drama about a cancer patient, etc. I appreciate that the filmmakers didn't resort to the usual introduction of a new romance to alleviate this dullness, though. Indeed, her past extramarital affair is largely glossed over in a sort of anti-climax. Besides, Diane's life is already overfilled with interpersonal relationships. The one somewhat interesting activity she manages to do alone, for she can't even drink by herself for long before her friends show up to take her home, is writing in her diary. It's a pastime that stands in stark contrast to the rest of the routine of this highly interdependent character. There's little to write about, either, besides everyone getting sick and eventually dying. Sure, it's respectably true to life, but it can be bad enough to already be living some variation of this narrative; to see it on the screen, may make such quiet desperation worse.
Mary Kay Place is fine in the titular role, which garnered her some talk of an Oscar nomination that never came, but "Diane" is largely an inversion of the usual parts given to such a character actor--making a protagonist of the mother in a drug-addiction drama, or of the friend in another drama about a cancer patient, etc. I appreciate that the filmmakers didn't resort to the usual introduction of a new romance to alleviate this dullness, though. Indeed, her past extramarital affair is largely glossed over in a sort of anti-climax. Besides, Diane's life is already overfilled with interpersonal relationships. The one somewhat interesting activity she manages to do alone, for she can't even drink by herself for long before her friends show up to take her home, is writing in her diary. It's a pastime that stands in stark contrast to the rest of the routine of this highly interdependent character. There's little to write about, either, besides everyone getting sick and eventually dying. Sure, it's respectably true to life, but it can be bad enough to already be living some variation of this narrative; to see it on the screen, may make such quiet desperation worse.
Rich and nuanced character study
paul-allaer6 April 2019
"Diane" (2018 release; 95 min.) brings the story of Diane. As the movie opens, we see her dozing off while visiting a family member in the hospital (whom we later learn is Donna, who is struck with cancer(. Diane then drops off some chicken at another family member in need. Then there is Brian, Diane's drug-addicted son who claims it's bronchitis. And on and on. Diane never seems to have time for herself. At this point we are 10 min. into the movie, but to tell you more of the plot would spoil your viewing experience, you'll just have to see for yourself how it all plays out.
Couple of comments: this is the fiction movie debut from writer-director Kent Jones, whose prior work was all in documentaries, including the excellent "Hitchcock/Truffaut" a few years ago. Here he brings the story of Diane and her family and friends, all doing the bet they can, in Pittsfield, Massachusetts. Even though there is the troubled son, it needs to be made clear that this is NOT a drug-addiction movie like the recent "Beautiful Boy" and "Ben Is Back". Brian's struggles are just a parallel story to many other struggles that we watch play out. At time this is a seemingly mundane people, but in the end we get a rich and nuanced character study that is deeply moving and affecting. Veteran actress Mary Kay Place shines in the title role.
"Diane" premiered at last year's Tribeca film festival to positive acclaim. Now, a year later, it finally made its way to my art-house theater here in Cincinnati. The Saturday early evening screening where I saw this at was attended so-so (exactly 10 people, including myself). Maybe this movie can find a wider audience as it is released on other platforms. If you are in the mood for a rich and nuance character study of an "ordinary" woman, I'd readily recommend you check this out, be it in theater (if you can), on VOD, or eventually on DVD/Blu-ray.
Couple of comments: this is the fiction movie debut from writer-director Kent Jones, whose prior work was all in documentaries, including the excellent "Hitchcock/Truffaut" a few years ago. Here he brings the story of Diane and her family and friends, all doing the bet they can, in Pittsfield, Massachusetts. Even though there is the troubled son, it needs to be made clear that this is NOT a drug-addiction movie like the recent "Beautiful Boy" and "Ben Is Back". Brian's struggles are just a parallel story to many other struggles that we watch play out. At time this is a seemingly mundane people, but in the end we get a rich and nuanced character study that is deeply moving and affecting. Veteran actress Mary Kay Place shines in the title role.
"Diane" premiered at last year's Tribeca film festival to positive acclaim. Now, a year later, it finally made its way to my art-house theater here in Cincinnati. The Saturday early evening screening where I saw this at was attended so-so (exactly 10 people, including myself). Maybe this movie can find a wider audience as it is released on other platforms. If you are in the mood for a rich and nuance character study of an "ordinary" woman, I'd readily recommend you check this out, be it in theater (if you can), on VOD, or eventually on DVD/Blu-ray.
No end movie
alexuno-3985018 April 2019
Realistic caregiver with some surprising twists
doxxman512 August 2019
Diane is a very moving portrayal of a 70 year old woman who takes care of everyone, from her older parents and cousins to her 30 something son (Jake Lacy) strung out on drugs. It is interesting and all too rare to see such a giving portrayal of a human being who is far from perfect, but tries so hard to be. As the film jumps through time we see the results of her efforts but are also confronted with things she cannot change, as people in the end are always going to fall back to what their true nature is.
The movie is directed by Kent Jones, a film critic and long time supporter of character actors like Mary Kay Place, who plays Diane almost too knowingly. The movie is full of only character actors, and so becomes a study of what it means to be a person who is often forgotten and over looked in our lives. Some actors start off in small roles and grow to become movie stars, recent examples might be Amy Adams, Sam Rockwell, Taraji Henson to name a few....but so many actors become people that we look at and say: "hey I know that persons face, but what's their name again?" Diane is an example of what it's like to be a caregiver in life, and a caregiver in acting. It is a film that I wouldnt call "happy" but I would call life affirming, with a really nice ending. Movies that truly mean something and portray ordinary people well are all too rare.
The movie is directed by Kent Jones, a film critic and long time supporter of character actors like Mary Kay Place, who plays Diane almost too knowingly. The movie is full of only character actors, and so becomes a study of what it means to be a person who is often forgotten and over looked in our lives. Some actors start off in small roles and grow to become movie stars, recent examples might be Amy Adams, Sam Rockwell, Taraji Henson to name a few....but so many actors become people that we look at and say: "hey I know that persons face, but what's their name again?" Diane is an example of what it's like to be a caregiver in life, and a caregiver in acting. It is a film that I wouldnt call "happy" but I would call life affirming, with a really nice ending. Movies that truly mean something and portray ordinary people well are all too rare.
Shooting Heroin? Really
ncampbell21014 August 2020
Warning: Spoilers
I read review after review waiting for someone to mention the scene where she goes and shoots heroin. I thought I had fallen asleep and missed an arc so I went back and watched it again. Sorry, this just made no sense to me.
She's come undone
Michael Fargo2 May 2019
I wandered into a screening of Kent Jones' "Diane" solely on the strength of Mary Kay Place's reputation for giving an excellent--often quirky--performance in the many films she's graced us with. Here too the only thing that kept me in my seat was watching Place and her excellent supporting cast perform.
The film however wore the marks of a director's "first" film in that it's shape was loose (the first half maddeningly repetitious) and determined to equate the topic of depression with, well, depressing the audience.
Jones succeeds in creating the world of a small town in New England, winter of course, as well as a generational portrait (of which I am one) and the weight of one's mortality that comes with that. Everyone's sick, dead, or dying. The role of caretaker is what gets you up and out of the loneliness that's closing in, and the scourge/danger of substance abuse that if you yourself survived you want to save your children from, forgetting that you had to learn for yourself that tough, perilous lesson,.
Midway, the film breaks away from Place's role as compulsive nurturer and explores why she feels the need to atone by, hopefully, caring for others. Those revelations make the film engaging even if it comes a little late in the arc of the story.
I read another review that compares Jones' tone to the masterful work of Kenneth Lonergan. True, but it's a reach too far for this first time director with a script that needed significant tightening. Jones is able to capture a sense of place, and it would be wrong to omit the many cast members who contribute to this effort. If Jones has a stand-out talent, it's an eye for casting and getting something tender and relaxed out of his actors. And there's always having the chance to see Mary Kay Place get a role that keeps her on screen virtually from beginning to end.
The film however wore the marks of a director's "first" film in that it's shape was loose (the first half maddeningly repetitious) and determined to equate the topic of depression with, well, depressing the audience.
Jones succeeds in creating the world of a small town in New England, winter of course, as well as a generational portrait (of which I am one) and the weight of one's mortality that comes with that. Everyone's sick, dead, or dying. The role of caretaker is what gets you up and out of the loneliness that's closing in, and the scourge/danger of substance abuse that if you yourself survived you want to save your children from, forgetting that you had to learn for yourself that tough, perilous lesson,.
Midway, the film breaks away from Place's role as compulsive nurturer and explores why she feels the need to atone by, hopefully, caring for others. Those revelations make the film engaging even if it comes a little late in the arc of the story.
I read another review that compares Jones' tone to the masterful work of Kenneth Lonergan. True, but it's a reach too far for this first time director with a script that needed significant tightening. Jones is able to capture a sense of place, and it would be wrong to omit the many cast members who contribute to this effort. If Jones has a stand-out talent, it's an eye for casting and getting something tender and relaxed out of his actors. And there's always having the chance to see Mary Kay Place get a role that keeps her on screen virtually from beginning to end.
The Masterpiece of Female Boomer Life
ahicks-225 May 2019
DIANE is an very realistically observed, emotionally nuanced drama of sixty-something Boomer women living in small-town up-upstate New York, Western Massachusetts, or thereabouts, and centered around an Oscar calibre performance by Mary Kay Place. Although the viewer may be captivated by the spell of the film's flow of personal and interpersonal detail, a thematic core may be abstracted from it; and some nice formal flourishes enrich the film. Thematically, the film illuminates the individual and group altruism of its world of Sixtyish Boomer women, a kind of unspoken sisterhood of social nurture. Formally, the emotional density of its many micro dramas is periodically offset by lovely scenes of calm country highway driving. Commercially, one fears that the film may suffer from a lack of conventional "hooks," but it's appeal -- word of it accurately and well spread -- should be intense for the sizable audience of Boomer women, not to mention alert demographically diverse cinophiles.
She was there for everyone and ended up alone in the end.
rjfromtoronto18 July 2022
Warning: Spoilers
Sad look at a life filled with regrets and shame, like Tom said "you remind me of my aunt, she was always apologizing for everything, taking too many steps, breathing too much air, she was wrapped in shame and lord knows what she what guilt she was trying to make up for. Basically the whole movie is about The Cape, an event that happened in 1999, and her thinking she was responsible for everything bad in her sons and her life, so she tries to make up for it with a penance of helping everyone but herself. To the person that couldn't understand the heroin scene, it was a dream about Jess, the guy she cheated with in summer 1999 or a representation of him, she wrote it in her diary, another said the ending was abrupt, no it was the opposite of all the other deaths in Diane's life, alone and suffering and dying in the arms of a stranger. She did everything for everyone and ended up dying alone and nobody comforted her. That's the realness of this movie, we all die alone, even in a roomful of people or by ourselves.
Overrated and Messy
peeedeee-942814 May 2019
Warning: Spoilers
I had high expectations for this film based on the rottentomatoes score. But I always look at IMDB reviewers to balance the strangely biased professional critics, especially on indie movies.
Some reviews talked about this film being a good character study. I didn't really see much character to study. Plus you can't have a character study in absence of an actual plot.
I sat through this movie expecting it to go somewhere, but it never really does. You see many scenes repeated over and over again. I thought the dull, repetitiveness was just the setup for some big reveal or plot twist - nope. Nada.
Lots of scenes of driving on the road, I'm guessing part filler, and part time passage/transition device. It got repetitive as well and didn't really work, because there would be jarring jumps in time. It almost felt like the director had made a 3 hour movie, then chopped out so much stuff to get a 1 1/2 hour film that you lose your place in the chronology of events.
People randomly die, there didn't seem to be any plot purpose to it. And while you get the sense Diane's behaviour is to atone for some terrible life she led, the only real thing everyone seems to blame her for is a tryst that occurred 20 years earlier. EVERYONE in town brings it up, but we never hear about the aftermath, like what happened to the lover or her ex-husband. I was half hoping that the movie was moving towards a sinister reveal where she kept their bodies preserved in her attic, but alas, nothing of the sort happens.
This movie is full of so many false endings, or places you think the movie should have ended, that the actual ending, which is a huge jump in time, is laughable. It felt like the director ran out of boring repetitive scenes, and just decided to throw in a hammy ending.
Overall, this one, while a decent effort from a first time director, is not the praise-worthy piece of film that the professional critics would like you to believe.
A lonely Woman trying to live a better life.
SGuiliano106497212 June 2020
Diane tell the story of a middle aged Woman in Upstate New York, (Mary Kay Place), who works for the homeless and has a difficult relationship with her son, (Jake Lacey), also has to deals with issues within herself.
The film starts slow but Diane's interaction or relationship with some relatives seems to make her out as the villain as she try to help others with taking a look at herself. I was looking forward to this film and it's Not bad. But the director, Kent Jones should have made this woman explore more about her relationship with her circle of friends. But the ending needed improvement.
My rating: 7.0
Just. a nice story.
ritatrip11 July 2020
Mary Kay Place was perfect for this story (as intended). It was just a story of one person's life. It moved along and didn't go anywhere dramatic, however, you didn't have any expectations. The ups and downs everyone deals with and accepts. I liked her character. I was not disappointed.
I WILL SURVIVE
js-6613030 May 2019
Small town New England, where the skies are grey, trees cast skeleton shadows, and folks drive endlessly to nowhere. A group of baby booming women gather for spirited, neighbourly warmth, as the ravages of time loom ominously on their well lived lives. Their men, the ones that are left, shuffle in the background.
Diane has things to do, it says so in long hand on her daily reminder note. But her mundane errands belie a couple of hardships: dealing with an adult son with a history of addiction, and a dying cousin hanging on to a lifelong grudge. As Diane, Mary Kay Place strikes a nuanced balance of vulnerable strength, a woman tough enough to bully her offspring into sobriety, good-hearted enough to bring true friendships to many, and broken enough to dance drunk solo in front of a jukebox.
Filled with excellent turns from a bunch of Golden Girls - actors who cut their chops back on the sets of "Love American Style" and "Mannix" - this film brings enough community spirit to perfectly complement Place's solo tour de force. Friends start to drop. Diane continues her lonely drives. The clouds never break. Nothing much changes, and it's all in Place's stony face.
Not for everyone, "Diane" is a moody chunk of cinema which is oh so rewarding for those willing to stick with it..
Diane has things to do, it says so in long hand on her daily reminder note. But her mundane errands belie a couple of hardships: dealing with an adult son with a history of addiction, and a dying cousin hanging on to a lifelong grudge. As Diane, Mary Kay Place strikes a nuanced balance of vulnerable strength, a woman tough enough to bully her offspring into sobriety, good-hearted enough to bring true friendships to many, and broken enough to dance drunk solo in front of a jukebox.
Filled with excellent turns from a bunch of Golden Girls - actors who cut their chops back on the sets of "Love American Style" and "Mannix" - this film brings enough community spirit to perfectly complement Place's solo tour de force. Friends start to drop. Diane continues her lonely drives. The clouds never break. Nothing much changes, and it's all in Place's stony face.
Not for everyone, "Diane" is a moody chunk of cinema which is oh so rewarding for those willing to stick with it..
Mary Kay Finally Gets A Lead
angelakenney-5298210 August 2019
There aren't exactly an excess of roles for women over 40 in Hollywood. There certainly aren't a lot of lead roles for an actress like Mary Kay Place who's made a career out of stealing the show in supporting roles over her enviable career, but with Diane, Place finally gets her chance to shine and, as expected, she's more than up for the challenge.
This is a different role for Place who tends to specialize in kooky or eccentric types and there's nothing terribly noteworthy about Diane. She's a widowed woman of a certain age who spends all her days and nights taking care of other people - her friends, her family, and the homeless. When she's given a moment of peace, all she can think about is how everyone she's loved has (or will soon be) died. What could have possibly led to her being so selfless?
Diane is a small film in scope and budget, but it's a small story about a small person - the kind of person we probably wouldn't give a passing glance to on the street. She looks just like any other woman in her area and age range. What could be so special about her? This film tells us - quite a lot.
Diane got me thinking about how little we really know about everyone we encounter on a day to day basis and how everyone is fighting their own battles that they don't always tell us about.
This is a different role for Place who tends to specialize in kooky or eccentric types and there's nothing terribly noteworthy about Diane. She's a widowed woman of a certain age who spends all her days and nights taking care of other people - her friends, her family, and the homeless. When she's given a moment of peace, all she can think about is how everyone she's loved has (or will soon be) died. What could have possibly led to her being so selfless?
Diane is a small film in scope and budget, but it's a small story about a small person - the kind of person we probably wouldn't give a passing glance to on the street. She looks just like any other woman in her area and age range. What could be so special about her? This film tells us - quite a lot.
Diane got me thinking about how little we really know about everyone we encounter on a day to day basis and how everyone is fighting their own battles that they don't always tell us about.
Disappointing
lisab613671 May 2020
Beautifully directed and acted.
gaiamuse14 April 2019
Mary Kay Place (Diane) gives a performance so real that we think we know her, have likely run into her at the grocery store or maybe met her at a local civic group. In any case we'd walk by this 'unremarkable' older woman with barely a glance. Her life is easy, hard, stressful, comfortable -- filled with things that matter only to her and her close family and friends. She is "every-woman" and yet Place inhabits Diane so well that we are drawn into the depth of her 'everyday' life and realize how extraordinary an ordinary life really is. Kent Jones does a brilliant humanistic directing job. A group of veteran actors (Joyce Van Patten and Estelle Parsons to name two) well known from stage and television, fill out a great ensemble cast. Thank you Kent Jones. A true pleasure.
Slow Moving Movie
dianne0028 June 2019
Quantifies why I like TV series better than movies, although this was so strung out that it could have turned into a very boring mini series. Things move slow, very slow. The other reviewers seem to be familiar with the writer, director and perhaps even the camera man and sing praises for this movie. Nothing much happens to this widow except she gets together with cousins, one dies and a couple aunts who also die, her son is addicted to drugs then finds Jesus. She really doesn't have a lot to say about any of it, except in a diary we see her write entries in. I really like Mary Kay Place and she's been in a lot of things besides Mary Hartman, repeat, and she seems comfortable in this role but then it wasn't much of stretch for her talent.
Excellent portrayal of small lives
hellenharvey21 July 2019
A RICH, BEAUTIFUL FILM
jpierard8 July 2020
Wasted 2hrs viewing THIS?!
onelonedolphin-3838929 June 2019
Excellent cast drew my interest. After viewing I feel I've totally wasted 2hrs of my life watching a movie about an ungrateful drug addict who completely disrespected his Mother. Story ending is unfinished, script timeline is confusing & dark. Leaves viewers disappointed because the cast includes incredibly talented people.
The Winding Road of life
silvasiembra30 September 2021
If you're a "Baby Boomer ", you have to watch this movie. It speaks to all of us. It takes you to your own past when you were a carefree, emotionally consumed youngster, to a present of which can lead you towards self evaluation, and a future that provokes the wonder of your own demise. The Director masterly takes you into people's lives in a peculiar way which leads you to sense your vulnerability. This film moved me because it was so real. I believe it will do the same to many who at one time felt indestructible. Those of us who wonder where the time went. Those of us who savor each moment of our lives while fighting our past regrets.
Tired melodrama with laughable acting
cgearheart18 April 2019
Considering its subject, Diane should've taken sweeter time with its acting, but quite unfortunately, it didn't. The story is quite good and the cinematography is beautiful (until 60% of the film becomes phantom rides of cars driving), but the acting is simply not that good. It's fine when the characters are just talking, but whenever they yell or get passionate, it's simply laughable. Jake Lacy is painfully miscast as Brian, delivering a performance so unconvincing and cringeworthy that it could be mistaken for an SNL sketch. Mary Kay Place starts out okay in the title role, but when she delivers emotional moments, she stumbles and comes across little more than a testy grandma.
D+
D+
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