Approximately 24 hours, from morning to morning, in the life of New York City-based jazz singer Vivienne Carala (Sarah Jessica Parker) is presented. On this day, she has a rehearsal in preparation for a weekend gig starting tomorrow celebrating her 25th anniversary of performing at Birdland - the rehearsal where she knows she will see Jordan (Taylor Kinney), her drummer with whom she has a casual sexual relationship - followed by an interview largely to promote her latest alb... (Full plot summary below)
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Approximately 24 hours, from morning to morning, in the life of New York City-based jazz singer Vivienne Carala (Sarah Jessica Parker) is presented. On this day, she has a rehearsal in preparation for a weekend gig starting tomorrow celebrating her 25th anniversary of performing at Birdland - the rehearsal where she knows she will see Jordan (Taylor Kinney), her drummer with whom she has a casual sexual relationship - followed by an interview largely to promote her latest album. Beyond these two items, she will try to fill her day without going home knowing that her overbearing French mother, Jeanne (Jacqueline Bisset), has made another of her unexpected visits. This day is upended in its front side by a medical appointment she has told no one about, let alone her exasperated manager Ben (Common) in she being late for the rehearsal because of it, at which she receives the news of a terminal brain tumor diagnosis - the head pain symptoms which she had long ignored in being too busy to deal with it - with the best case scenario being a 14-month survival, only with treatment. Beyond the commitments of the rehearsal and the interview which are affected by the news, Vivienne, who wants to keep the news to herself for the time being in wanting to live her life, knows she has two logistical issues--needing to tell her ex-husband Nick (Simon Baker), who has custody of their teen daughter Lucie (Gus Birney), they who will have to figure out how to break the news to Lucie; and needing to have one person accompany her to the hospital the following morning, whether that person be Nick or she needing to confide to one other person. Aside from how she will process this news in relation to the people close to her including Nick, Lucie, Jeanne, Ben and Jordan, her own process of dealing with the news internally is affected by, among other things, encounters with two unexpected people, Tessa (Renée Zellweger), an old friend she hasn't seen in a while and who is out celebrating her birthday, and a Lyft driver (Waleed Zuaiter) who also seems to be having a bad day.
Leave your thoughts about Here and Now.
| AWFJ Women on FilmLoren KingIt's an intimate character study that rests on the lead performance from Sarah Jessica Parker, de-glammed save for her Kim Novak platinum hair. |
| New York TimesAisha HarrisIt all adds up to a film aiming to be a moving character study (and an ostensible homage to Agnés Varda’s “Cléo From 5 to 7,” a far more vivid exploration of existentialism), but instead feels adrift. |
| Film InquiryAkemi AielloClunky and at times, confusing, Here and Now fails to give Sarah Jessica Parker the chance to dive deep into herself and give the emotional performance she was hoping for. |
| indieWireDavid EhrlichFor an homage boasting a far more fatal outlook than Varda’s original, it’s frustrating and kind of perverse that Blue Night should be so gentle. |
| Film ThreatMatthew PassantinoBlue Night plods along for 96 Minutes, creating a surface-level exploration of its character’s life. |
| Screen InternationalDavid D'ArcyIt’s ambitious, and she hits some of the right notes, but much of it ends up off-key. |
| The Hollywood ReporterKeith UhlichSuperficiality reigns, but then a truly affecting scene will pop up. |
| TheWrapDan CallahanThis is very much a vehicle for Parker, and it plays into some of her strengths and many of her weaknesses. |
| ObserverRex ReedNothing seems real, including the fact that the star is playing an allegedly legendary jazz singer without a single indication that she has any talent for the job. Although she looks weary and downbeat for good reason, she is touching and fearless in an underwritten role, and the considerable vocal chops she has displayed onstage in Broadway musicals serve her well, even when the movie doesn’t. |
| Mark Reviews MoviesMark Dujsik[A]s accurate as this portrayal of avoidance might be, it doesn't amount to much in terms of sympathizing with or understanding who Vivienne is and what she's experiencing. |
