“The Good Mother,” a new thriller film, features an impressive cast including Hilary Swank, Olivia Cooke, and Jack Reynor. However, another star of the film is the Empire State Plaza itself, as director Miles Joris-Peyrafitte frequently showcases the iconic government building complex. As a native of Albany, Joris-Peyrafitte’s love for the Plaza is evident, and he captures its distinctive qualities with care and attention to detail.
The film opens with a recognizable view of the Plaza, and later utilizes its towering buildings as stand-ins for various locations. Joris-Peyrafitte’s portrayal of Albany is gritty and unflattering, yet he also manages to find moments of beauty and presents the city as a convincing backdrop for any story. It’s exciting to see local landmarks like the Palais Royale and the Rensselaer train station immortalized on film.
Set against the backdrop of the 2016 opioid crisis, the movie follows Marissa Bennings (played by Swank), a former journalist for the Times Union. Marissa’s life is already numb from alcohol abuse when she receives the devastating news of her son’s death. Joined by her son’s pregnant girlfriend Paige (Cooke), Marissa reluctantly embarks on a journey to uncover the truth behind the murder. As Marissa delves deeper into the investigation, she not only rediscovers her investigative skills but also finds solace in her role as a mother.
The chemistry between Swank and Cooke is palpable, with Cooke’s expressive face complementing Swank’s emotionally burdened performance. Additionally, Swank and Reynor portray a unique dynamic as a grown son and his youthful mother. Their relationship is portrayed with authenticity and depth rarely seen on screen.
“The Good Mother” delves into the dark underbelly of Albany, exploring its squalor while also unearthing glimmers of hope. Joris-Peyrafitte subverts traditional mystery and thriller tropes, providing a fresh and captivating experience for viewers. The film’s central “twist” may seem predictable, but its execution is deliberate and intentional, offering a departure from formulaic storytelling.
Swank’s portrayal of Marissa is a testament to her talent as an actor, capturing the character’s depression, stoicism, and self-destructive tendencies. Even in the subtlest moments, Swank’s performance shines, drawing viewers deeper into the complexities of her character’s journey. Cooke delivers a powerful performance as a young woman trapped in an inescapable life, while Reynor effectively portrays the role of the “good son.” The supporting cast, including Hopper Penn and Karen Aldridge, also deliver standout performances.
Overall, “The Good Mother” showcases Joris-Peyrafitte’s skills as a director who understands Albany and its unique atmosphere. It is a testament to his ability to craft nuanced narratives and create engaging chase scenes and thrilling set pieces. One can only anticipate the future projects Joris-Peyrafitte will bring to his hometown, exploring different facets of Albany and its surroundings. Perhaps next, he may tackle a high-intensity political drama set along the Capitol’s Million Dollar Staircase or a grungy underground musical set in the 1990s Lark Street and nearby QE2.
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