Posted on Wednesday, October 14th, 2020 by Marshall Shaffer
Azazel Jacobs’ previous film, The Lovers, establishes its overarching and consistent tone from the time the opening studio logo appears. A self-consciously melodramatic piece of score cues the audience to recognize Jacobs’ perspective. He humorously heightens the stakes for an otherwise mundane story of aging lovers and their affairs.
His follow-up feature, an adaptation of Patrick DeWitt’s novel French Exit, contains no less vibrant an expression of Jacobs’ directorial stamp. Yet there’s something slipperier and tougher to pin down here, largely because the droll wit never seems to coalesce around a clear point of view. The result is a satire of New York’s upper crust that feels like it pulls punches, if only because it seems to have no clear direction as to where – and how – Jacobs wants them to land.