“A Simple Favor” is a film that walks a tightrope between melodrama and parody. It’s a thriller told with a generous sense of humor, humor that is twisted and self-referential of the suburban mom caricature. That ever-so-perfect mom. The one who cuts the crust off the edges, remembers everyone allergies including the children who don’t even belong to her. That mom that volunteers for anything and everything, desperately pleading to be a part of every waking moment of her child’s life. That’s the kind of mother that we see in Stephanie (Anna Kendrick). She’s the mother who makes every other parent feel like crap as if they are not trying enough.
She’s a single mother too. Both her husband and half-brother died in a horrific car accident; so that mama work-ethic is due in part to her keeping busy, refusing to be reminded of the grief that she has somewhat buried beneath her desire for friendship. She even runs a popular vlog, where she shares recipes, parenting tips, and how-tos for the everyday single mom out there. This super-mom persona seemingly stifles her from developing any sense of meaningful connection with other adults though, both romantically and friendly. That is until she comes across Emily Nelson (Blake Lively), a stunningly beautiful and alpha-like woman who seemingly allows no BS to slip by. She invites Stephanie over to her dazzling high-town house, just outside the hustling and bustling city of New York.
There, they exchange confessions. Drinking high-class martinis, and chit-chatting their stresses away. Least to say, Stephanie is star-struck by all of this. It’s not hard to see why either, Emily is that distinct kind of beautiful, striding around the screen in her red high heels and pin-stripe suits making sure all the attention is on her, like that of graceful painting brought to life. It’s the Manhattan dream to her, especially when she, like us, is swooped off her feet by Emily’s husband Sean (Henry Golding).
The handsome and smooth-talking charmer from “Crazy Rich Asians” graces us with his stunningly dapper presence once again, making all of us drool of course. Here he depicts a once-great writer, responsible for one New York Times Bestseller that has seemingly kept him from writing ever again. It’s also inherently enigmatic for Stephanie, both of these people seem to be piercingly contrasting to the stereotypical out of the city mom, they have threesomes, drink away their problems, and Emily is more unique than thought possible. She isn’t only stunning to look at, but her personality blows you back as well; swearing, and speaking directly to Stephanie. She’s intimate, encouraging, and seductive wrapped into one alluring package.
Some curious red flags go up while we are introduced to this gorgeous woman though, freaking out when her picture is taken, seemingly telling stories like that of a pathological liar, and when she suddenly disappears, it becomes more and more apparent that she was not an average person. As a former artist who used to paint her describes “I’ve never seen such a beautiful girl wanna be so invisible.” It becomes a mystery that isn’t worth solving. The breadcrumbs lead to conclusions seen from a mile away. It doesn’t take much to figure out where everything is going; it's the opposite of something like “Gone Girl." Never surprising us, but making it fun to participate in the hunt for the truth.
It’s what gives “A Simple Favor” this smooth edge to its classy grandeur, shifting fluidly from a bad and predictable mystery to an entertaining dramatic comedy with the charismatic woman taking charge of the story. It’s one of Paul Feig's best talents as a director. The acclaimed mind from films such as “Bridesmaids” and “Heat,” showcases his innate ability to work with strong and engaging woman once again. He gives them space to work, rightfully allowing them to take center stage, to be apart of the creation. There’s room for him to build off of, room for him to mold things, room for him to bounce off their spontaneity, improvisation, and behavior.
The plot isn’t intricate; it’s channeling the comedies or spy capers of the 60s as made apparent in the stylization of the opening credits. Designed funkily, single color stilettos and purses moving along in these angular cut-out shapes and frames that collage together in French-pop sort of way. Establishing that high-town mood from the get-go, relying on songs from artists like Serge Gainsbourg and Jean-Paul Keller to paint something ever-so similar to Guy Ritchie’s “The Man From U.N.C.L.E.” He speeds past the twists and turns, running over them like the speed bumps that they could become, a wise but noticeable maneuver from Feig. He knows the screenplay can be shredded if given too much leeway, so he remains reserved, relying on style and charm rather than substance and drama.
That’s not to say there are no radiating messages made by the screenwriter (Jessica Sharzer adapting from Darcey Bell’s novel). Emily points out wrongful female habits, like that of the constant insistence on apologizing for things that aren't their fault, or confusing beauty for strength. But the super-mom turned feminine detective aspects are over-blown; never ridiculed or pointed out for their innate ridiculousness, a missed opportunity.
Besides those kinds of missteps, the actresses are on fire here. Kendrick funnels that shy, awkward, and quirky happy-go-lucky attitude that makes her so effortless to yearn for, to resonate with. She executes that kind of character with ease, but she takes it up a notch from her performances in the “Pitch Perfect” films, able to introduce a more dagger edge to that plucky attitude. Lively is no different. She inhabits that ruthless yet charming persona, able to become sexy and detached, intimidating and provocative, like that of a thorned rose.
They are the gas that fuels the car, keeping this locomotive of charm going down the tracks which inevitably is where “A Simple Favor” nestles itself. It doesn’t try to outdo good mystery films like that of “Gone Girl,” nor does it try to match the classy dramatic crime films of the 60s like “Murder on the Orient Express.” It finds it's lane and drives the speed limit, coloring inside the lines. The best way to decide if a film is good or not as a critic, at least for me, is whether or not you had a good time, and I can answer that question with affirmation. It’s not going to be a prominent favorite for female lead filmmaking when the year reaches its end, nor does it do anything shocking and surprising. “A Simple Favor” merely entertains and satisfies, and that’s all you can ask for sometimes.