Marriage Story

Critics Consensus

Observing a splintering union with compassion and expansive grace, the powerfully acted Marriage Story ranks among writer-director Noah Baumbach's best works.

97%

TOMATOMETER

Total Count: 258

83%

Audience Score

Verified Ratings: 134
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Movie Info

A stage director and his actor wife struggle through a grueling, coast-to-coast divorce that pushes them to their personal and creative extremes.

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News & Interviews for Marriage Story

Critic Reviews for Marriage Story

All Critics (258) | Top Critics (49) | Fresh (249) | Rotten (9)

  • Noah Baumbach's latest film portrays both sides of a messy divorce, for once.

    Dec 6, 2019 | Full Review…
  • At its best, this movie is searing. It pinpoints many of the little talked-about aspects of divorce that seem the least significant but hurt the most.

    Dec 4, 2019 | Rating: 3/4 | Full Review…
  • The entire cast is rock solid, with Johansson and Driver turning in two of the very best performances of their careers.

    Dec 3, 2019 | Rating: 4.5/5 | Full Review…
  • It's a triumph, a mix of pleasure and pain that cuts so deep it leaves a scar. It hurts, but it hurts so good.

    Dec 1, 2019 | Rating: A | Full Review…
  • Johansson and Driver are remarkably, heartbreakingly good in every scene; showing their characters' journeys to an unflinching camera, letting the gap between them get wider yet unable, for their son's sake, to completely walk away.

    Nov 27, 2019 | Rating: 4/4 | Full Review…
  • By the end, you're rooting for both Charlie and Nicole, hoping they find their own happiness despite all the bad things and the pain they caused one another.

    Nov 22, 2019 | Rating: 3.5/4 | Full Review…

Audience Reviews for Marriage Story

  • 6d ago
    Noah Baumbach is a writer and director most known for acerbic dramas with a very dark, pessimistic viewpoint. That changed somewhat once he began a filmmaking partnership with actress Greta Gerwig that began with 2013's Frances Ha. Gerwig has since gone on to become an accomplished filmmaker in her own right with 2017's Lady Bird, which earned her Oscar nominations for writing and directing. The partnership seemed to bring out a softer side for Baumbach and they became a romantic couple who had a child earlier in 2019. Hell, Gerwig and Baumbach are even circling writing a Barbie movie together. This is a changed filmmaker and he brings that changed perspective to Marriage Story. It's very different from Baumbach's other movie about divorce, 2005's The Squid and the Whale. I found that movie difficult, detached, and hard to emotionally engage with. Marriage Story, on the other hand, is a deeply felt, deeply observed, and deeply moving film experience that counts as one of the finest films of 2019. Charlie (Adam Driver) and Nicole (Scarlett Johansson) are heading for divorce. He's a successful theater director. She was a successful movie actress who relocated to New York City and has gotten an offer to shoot a pilot in L.A. Both say they want what's best for their young son Henry (Azhy Robertson) but this will be tested as Charlie and Nicole push one another for what they feel is their best version of their family. The observational detail in Marriage Story is awe inspiring. I was floored by how involved I got and how quickly, and that's because Baumbach has achieved what few filmmakers are able to, namely present a world of startling authenticity. There is a richness in the details, small and large, that makes the entire story feel like you've captured real life and thrown it onscreen. I wouldn't pry but Baumbach himself went through divorce around the time he was writing this, and I have to think some of those feelings and details seeped into this screenplay. Baumbach's direction favors clarity and giving his actors wide berths to unleash meaty monologues or dynamic dialogue exchanges. The writing is sensational and every character is given a point of view that feels well realized. Even the combative lawyers (Laura Dern, Ray Liotta) have perspectives you can see why they're fighting for what they believe is right. But it's watching Charlie and Nicole together that brings the most excitement. Watching the both of them onscreen allows for so much study the little histories behind their words, their gestures, their impulses, and they feel like a great mystery to unpack. It feels like a real relationship you've been dropped into and left to pick up the histories and contradictions and all the rest that make people who they are. It's very easy and understandable for divorce dramas to essentially pick sides, to present a clearly defined protagonist and antagonist, like 1979's Kramer vs. Kramer. It's easier for an audience to have a clear side to root for and a clear villain to root against, someone who they can see is more responsible for this breakdown of the family unit or for the infliction of emotional pain. What Baumbach does is something rare and exceedingly compassionate; he makes us like these two people as a couple in the opening ten minutes so that we can see how they could have shared a loving relationship for so long. The opening is mirrored voice over where each spouse narrates what they love or admire about the other person, and by doing this it's like we too get to see these people in this adoring light. It's like a ten-minute love letter and then it gets ripped away. However, by starting with this foundation, Baumbach has invested the audience immediately. We care about both of these people because we've seen them at their best, and now as things get more acrimonious and harder, it hurts us too because of that emotional investment. Marriage Story does not adopt a side or ask its audience to choose. It presents both parties as essentially good people but with their flaws and combustibility that point to them being likely better apart. That doesn't mean they don't still care for one another or have essential elements of friendship. A simple shoelace tying at the very end of the movie nearly had me in tears because of its everyday act of kindness. These are complex human beings with needs, desires, egos, pressure points, and we watch both of them struggle through a stressful process where they're trying to do right but that definition keeps morphing with every next step. If there are villains, it's the lawyers, but even they are given degrees of explanation and perspectives to explain why they fight as hard as they do. I have read several reviews that disagree with my "no sides" assessment, citing how the movie presents more of Charlie's perspective during Act Two, and this is true. The extra time onscreen, however, doesn't erase his faults as a husband. The transition to this handover is Nicole unburdening herself to her lawyer (Dern) in a gorgeous seven-minute monologue. It's a thrilling moment for Johansson as the character begins guarded and afraid of saying anything too harsh, and then as she starts talking it's like you watch layer after layer get pulled free, allowing this woman to open up about her untended wants and desires and to legitimately be heard in perhaps the first time in a decade, and it's so powerful and sympathetic and natural. To then think that Baumbach intends to portray this same woman as a villain seems like a misreading. The second act does involve Charlie being more reactive to the new obstacles of divorce, like being forced to hire a lawyer to officially respond, to start a residence in L.A., and to eventually be observed by an evaluator of the court. He holds to the belief that he and Nicole don't need the acrimony, don't need the pain, and that they can be adults when it comes to deciding their end. Whether this is naivety will depend on your own worldview, but holding to this belief gets Charlie playing catch-up a lot and having to roll with changes for fear of being seen as an uncooperative parent, like when Nicole's friends don't want to go trick-or-treating with Charlie present so he's forced into a second later more pathetic outing. We do get to see Charlie beset with challenges but that doesn't erase Nicole's challenges too. For a movie as deeply human as this one, it's also disarming just how funny it can be. The humor is never cheap or distracting but just another element that makes Marriage Story so adept. While the movie has its lows, it can also find delicate and absurd humor in the moment, reminding the audience that life isn't always doom and gloom even when things are going poorly. The sequence where Nicole and her sister (Merritt Weaver, wonderful) are bickering over the exact steps to legally serve Charlie divorce papers reminded me of a screwball comedy, how the nerves and fumbles of the characters were elevating the experience into touching the absurd. Nicole's entire family is a great comedic array of characters including her mother (Julie Hagerty) who says she has her own personal relationship with her daughter's ex-husband that she wishes to maintain. They even have pet names for one another (this brought back memories for me as I've had mothers of ex-girlfriends still want to talk with me weeks after their daughter dumped me). The legal asides are also filled with absurdist moments of comedy about double-speak and the arcane or idiosyncratic rules of divorce and representation in the courts. The sequence of Charlie being watched by the deadpanned court evaluator (Martha Kelley, TV's Baskets) is a terrific example of cringe comedy. He's trying to impress her but she's generally unflappable, to hilarious degree, and it only leads to more miscues that Charlie tries to ignore or downplay to win her favor. Make no mistake, Marriage Story is also one of the hardest hitting dramas of the year. Because we like both participants, because there is something at stake, watching them tear each other apart is a painful and revelatory experience. There is one gigantic confrontation that, like Nicole's first confession, begins small and cordial and builds and builds in intensity, to the point where walls are punched, threats are unleashed, and both parties end in tears. It's a thrilling sequence that feels akin to watching the defusing of a bomb ready to explode. Baumbach never feels the need to artificially inflate his drama, so we stick with that observational and compassionate ethos that has guided the entire film, even during the ugly moments. These are two people with pain and frustrations who both feel they have been wronged and are in the right. They're both entitled to their pain, they're both at fault for letting things get to this precipice, and they can both acknowledge that as well. Because even at their worst, Nicole and Charlie are still portrayed as human beings and human beings worthy of our empathy. They aren't heroes or villains, they're simply real people trying to navigate a hard time with conflicting feelings and needs. The acting is outstanding. Driver (BlackkKlansman) is sensational and goes through an emotional wringer to portray Charlie, trying to stay above it all for so long and losing parts of himself along the way. His outbursts are raw and cut right through, but it's also his smaller moments of ignorance, dismissiveness, or tenderness that linger, providing a fuller picture of who Charlie is, why one could fall in love with him and why one could fall out of love. I fully expect Driver to be the front-runner for the Best Actor Oscar. He even gets to sing a Sondheim tune and uses it as a reflection point. A late moment, when he's reading a particular letter, drew tears and got me choked up. He's always been such a visceral actor, a man with a magnetic charisma and animalistic sense of energy that draws your attention. He's finally found a role that showcases how brilliant an actor Driver can be. This is also easily the best work of Johansson's (Avengers: Endgame) career. Let there be no doubt – this woman can be a tremendous actress with the right material. She's struggling with her sense of identity, being tied to Charlie for so long, and "wanting my own Earth" for so long that the dissolution process is both tumultuous but also exciting for what it promises. Nicole can take those chances, her Hollywood viability still alive, and strike out doing the things she's wanted to do, like direct. Her character has felt like a supportive prisoner for so long and now she gets to make a jailbreak. Johansson is an equal partner onscreen to Driver, trading the tenderness and hostility moment-for-moment. This is Noah Baumbach's finest film to date, and I adored Frances Ha. I was expecting a degree of bitterness from the normally prickly filmmaker, and that's to be had considering the subject matter of divorce. What I wasn't expecting was the depth of feeling and compassion that flows from this movie's very steady beating heart. It feels real and honest in a way that a movie simply about the horrors of divorce and breakups and custody battles could not. Baumbach's characters aren't just meant to suffer and inflict pain, they're meant to come through the other side with something still intact. I'd argue that Marriage Story, even with its suffering, is ultimately a hopeful movie. It shows how two people can navigate the pain they've caused one another and still find an understanding on the other side. Driver and Johansson are fantastic and deliver two of the finest acting performances of this year. Baumbach's incredible level of detail makes the movie feel instantly authentic, lived-in, and resonant. I was hooked early, pulling for both characters, and spellbound by the complexity and development. There isn't a false note in the entire two-plus hours onscreen. It feels like you're watching real people. Marriage Story is a wonderful movie and I hope people won't be scared off by its subject matter. It's funny, empathetic, and resoundingly humane, gifting audiences with a rich portrait. It should be arriving to Netflix streaming by December 6, so fire up your queue and have the tissues at the ready. Nate's Grade: A
    Nate Z Super Reviewer
  • Nov 30, 2019
    BLAMER VS. BLAMER - My Review of MARRIAGE STORY (4 Stars) White middle class couples getting divorced haven't really set the cinematic universe on fire for many many years. In its heyday, such films as Ordinary People, Kramer Vs. Kramer, and An Unmarried Woman garnered serious box office and Oscar attention. Nowadays, it's a miracle if a small indie tackles the subject and gets a streaming release. Tastes have shifted. Other issues have taken up more importance in our collective minds. Other voices have rightfully staked their claim. So, when I heard Noah Baumbach's latest film had made its way to the top of many lists, I felt an enormous amount of skepticism. Do we really need to see a successful theater director and his actor wife fight over which lovely home in which wonderful town they can agree upon to raise their young son? I smelled huge blowouts around huge kitchen islands in my moviegoing future. Luckily, Baumbach, always an astute observer of human behavior, knows people like me all too well and prepared himself for the backlash by inserting a scene in which a courtroom judge lays out the champagne problems of it all. With that at the very least acknowledged, we end up with a searing, detailed, emotionally powerful, beautifully acted story less about divorce but about finding one's humanity in times of crisis. It opens with a beautifully realized montage in which Charlie (Adam Driver) and Nicole (Scarlett Johansson) read from essays they've written about each other over highly specific scenes from their marriage. The sequence ends, however, with those essays being presented to a mediator who presides over their separation. Charlie and Nicole seem effortlessly polite and sometimes loving with each other, promising to eschew lawyers and make their split amicable. Perhaps because they have a young son, Henry (Azhy Robertson) or maybe they're just good people, but their divorce feels…nice. We know that won't last. Soon enough, Nicole has left their comfy New York home to star in a pilot in Los Angeles. There, she's introduced to a powerful divorce attorney Nora (Laura Dern) who with her serenely cutting line deliveries ensures an ugly battle ahead. This move forces Charlie to lawyer up with the scene-stealing Alan Alda as his council. From here, the film starts to resemble a courtroom drama, but it avoids the all-too familiar tropes by bringing us those in-between scenes in which Charlie and Nicole hash things out in private. It's a scenario played out with equal parts kindness and dread as each reveals details and motives better left unsaid. It culminates in a stunning argument, a gut punch of a ten minute sequence in which Driver and Johansson do the best work of their careers to date. Same goes for a matching pair of musical sequences in which each actor sings Sondheim songs from "Company", and, against all odds, it works like gangbusters. It also helps that the supporting cast delivers on all fronts. Aside from Dern, who almost runs away with the movie and practically demands a standalone Nora spinoff project, I loved Julie Hagerty and Merritt Wever as Nicole's mother and sister respectively. Wever mines so much comedy out of a scene in which she needs to serve Charlie his divorce papers and Hagerty, who has reached National Treasure status by now, kills with her patented goofball charm. Ray Liotta has a field day as one of Charlie's attorneys, sparring with Nora while also finding these credible grace notes when the two trade light, personal anecdotes. There's the famous quote, "Hollywood is the only place where you can die of encouragement", and nowhere is this more true than in the dynamics between Dern and everyone else with whom she shares the screen. We're used to her delicious freakouts, but here, she glides on a razor blade and in one amazing monologue, she more than earns her inevitable Oscar nomination. A special mention also goes to Martha Kelly (Baskets) who uses her deadpan delivery to perfection in her scenes as a parental evaluator. Baumbach does some of his best writing and directing here. Clearly he has taken a page out of the Woody Allen playbook of allowing for offscreen space and framing which accentuates the distance between characters, but he also deftly utilizes monologues and creates a sense of urgency despite saddling his actors with overwritten dialogue. In lesser hands this would have felt like a bad play, but this film blends humor and drama so well, you may find yourself completely wrapped up in it. I also loved the scene in which our two leads shut a stuck gate. It's a fine example of how editing and matching shots can achieve an intended effect. This film could have easily slipped into cornball pathos, but because the characters have reached such vivid levels, it never does. By the time it reaches its wonderful throwaway of a final scene, which could have gone the way of so many "important" moments we've seen endlessly, you may find yourself exhausted but completely in love with these flawed, unpredictable, and unforgettable characters. Marriage Story makes the divorce movie important again.
    Glenn G Super Reviewer

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