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The question around which A simple favor not turn out is not so much, Where's Emily? as, Who is Emily? Paul Feig's black thriller focuses on the subtly named Stephanie Smothers (Anna Kendrick), a single mother and blogger mom by helicopter who becomes the unlikely best friend of the most glamorous mother of all, Emily Nelson (Blake Lively). When Emily asks Stephanie to bring her son home – the eponymous favor – and then disappear without a trace, Stephanie goes looking for where this girl is gone.
This is the kind of ingenuity of the premise: a mom vlog becomes the latest crime sensation after the sudden disappearance of a member of the PTA. And I have not prepared the Darcey Bell novel from which the film was adapted (by screenwriter Jessica Sharzer), but that's not what we give here, without ever breaking the satire of the e-mom generation crime.
A simple favor is ostensibly Missing girl, even if it is not as elegant as that of David Fincher in the suburbs. As it unfolds, there are so many things thrown against the wall – doppelgangers and incest, unfaithful husbands Crazy Rich AsianHenry Golding) and murder – that A simple favor becomes complicated, crazy. There are good pieces, but the puzzle never combines. Too many plot threads turn out to be red herrings or, ultimately, next to the point – including and above all the extremely bizarre incest sub-plot, which eats a sizeable amount of screen time even he still can not fully understand himself.
The fort of Feig, presented in superb works like Bridesmaids and ghost hunters and Spy, stages a scene and lets its actors devour it with endless improvisation. In a film as heavy as that, however, all this mess drain some of the mystery. Which one is good, because the scenes between Kendrick (characteristically, but perhaps still a bit too loud to buy mom) and Lively, basking in Emily's brilliant contemporary kitchen, speaking, are the highlights, the ladies typing in a rat-a-tat groove while Stephanie and Emily exchange the secret on dirty martinis.
But there is still this nagging question: Who is Emily?
"Have you already understood me?" Emily snores late in the movie.
"You can not understand …" replies her husband (Golding).
"Thank you," she said.
Except we never find it, not really. Walnut revelations abound, but you do not leave A simple favor with all sense of who is really Emily. Still, it's an explosion to watch Lively rip in her, Emily's couch f ** k this attitude on the thick at the beginning (his office vocal message is, "leave a message or go f ** k yourself") and, quite impressive, sells it, before unmasking a number of other sides of herself: unfazed, funny, intimidating, seductive, someone who can do a tuxedo in the day. Lively has forged an interesting path to film fame – afterGossip Girl, bouncing swoony The age of Adaline shark attack thriller The shallow at indie morose art house, All I see is it's you – it's easy to excuse a single Blake Lively vehicle (like this one) when it delivers so good in.
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