CAKE

Director: Daniel Barnz

Screenplay: Patrick Tobin

Cast: Jennifer Aniston, Adriana Barraza, Sam Worthington

Rating: 3⁄5

Ten years is a long time to play a character and have that particular role stick to an actress, and ever since Friends came off the air, this must be what plagued Jennifer Aniston’s film career that happened afterwards. Her popularity in terms of box office numbers has never been in question, but the repetitive roles she took in underwhelming, uninspired romantic comedies were getting tiresome. But here comes Cake, the latest Aniston film that is getting positive attention for its lead actress, and for good reason (those Golden Globe and Screen Actors Guild nominations for Aniston speak for themselves).

Whilst not exactly a shocking transition for the actress, it is nice to see her shine in a genre we so rarely see her in; a wonderful reminder that she will not be remembered solely for the Rachel role. Aniston is simply outstanding as Claire Bennett, an unpleasant, unhappy woman who is struggling to deal with the various scars in her life. A violent accident is hinted at, given the obvious reminders on her body, whilst the chronic pain from the trauma she has to live with does not make life any easier. Addicted to painkillers and shutting everyone away from her life, Claire gets oddly fixated on the story of a young woman (Anna Kendrick) from her chronic pain support group, who committed suicide; so much so that she even goes to knock on the widower’s (Sam Worthington) door, and also finds the time to visit the actual site of the suicide.

Of all the things the screenplay could have done with this fascinating character, the main plotline is what comes up short. It is a terrible waste of an excellent, understated performance, only to place it in an oddly peculiar narrative that makes very little sense and does next to nothing to explain anything. Claire’s mind is all over the place and this particular obsession seems to come out of nowhere and the script is never committed enough to follow up on this main part of the story. The weak link between her and the widower fails to establish chemistry, and the film only seems to be back on track when focusing on Claire’s personal journey to become a better person.

The redemptive quality in the story may sound like the ones we have seen thousands of times before and in essence there is not a huge lot that sets this one apart from the rest. But it is with Aniston’s heart-breaking turn that the film truly finds its voice. Claire is someone you are not sure to feel sorry for. Although often the grumpy bitch to her loyal maid Silvana (an equally impressive supporting turn from Adriana Barraza), a disruptive influence at the support group, and someone quite happily numbing her pain with the stash of hidden pills not interested in improving through therapy, there is an unbearable level of sadness and yes, pain, with what she has been through. This is perhaps Aniston like you have never seen her before. And for that alone, it is more than worth the time to sit through Claire’s frustrating, but ultimately rewarding journey of coping with tragedy.