"After a devastating loss, witty and proudly troublesome Eleanor Morgenstein, 94, tells a tale that takes on its own dangerous life." 

OUR MOVIE REVIEW:

In the aftermath of an atrocity, there are survivors; memories and stories for them to tell regarding those who didn't make it. However, we mustn't stop telling our own story because that is worth telling too. That is the core of Scarlett Johansson's directorial debut, Eleanor the Great. A dark comedy starring June Squibb as Eleanor, who finds herself telling her holocaust survivor story to her new survivor support group after she moves to New York to live with her daughter. Except, it isn't her story, it is her late roommate's. This is an interesting hook, with an unfortunate similarity to Stephen Chobsky's Dear Evan Hansen (without Ben Platt's awful singing, thank goodness). While I feel Johansson's heart is in the right place here, Eleanor the Great meanders in pointless, emotionally one note scenes that add too much fluff to a film with a shockingly short run time. 

The best part of the film is by far June Squibb, who is charming, hilarious, and really fun to watch on screen. Eleanor is also a fascinating character that she elevates significantly. It isn't lost on why she lies and let the lie grow - however, it's clear that the script and direction don't have anywhere interesting to go. She's approached by a student, played by Erin Kellyman, who wants to write her thesis on Eleanor's experience not knowing that it's a lie. It's an incredibly telegraphed and predictable subplot that goes where you expect it to go without really changing anything to the average formula. It's quite unfortunate because Kellyman and Chiwetel Ejiofor, who plays her father, give quite compelling performances despite the script giving them no character depth at all. 

It's quite confusing why Johansson chooses to really insist on the character's grief without realizing her repetitive angle. Every character is going through grief of some sort, but why am I only feeling something for our main character? Why is this story being told in the most unengaging and safe way possible? I understand Johannsson wants to tell the importance of stories and memories as survivors eventually pass; I don't know if there's much else to that, aside from that central hook to our story. It's an admirable effort, but the approach is too aloof, cold and safe.