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Frances has supposedly moved to Paris because she's broke, but upon her arrival, starts giving what little money she has left away. The confusing screenplay is impossible to keep up with and parts are just hard to swallow, thanks to an absurdist theater sensibility to the proceedings. This oddly disparate group of characters who cross Frances and Malcolm's path includes a detective Frances hires to find the cat when he runs away, a bitchy overweight medium who Malcom meets on the cruise to Paris, and Malcolm's fiancee (Imogen Poots), who Malcolm walked out on to go to Paris, but she shows up there anyway with her new boyfriend.
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Screenwriter Patrick Dewitt actually could have used some assistance adapting his own novel to the screen because despite a relatively solid premise and interesting lead characters, this film has no discernible plot, just a series of vignettes with bizarre characters that, for reasons that aren't really explained, all end up together in Frances and Malcolm's apartment seeking comfort, confronting demons, and forcing relationships that just aren't meant to be. Three-time Oscar nominee Michelle Pfeiffer knocks it out of the park as Frances Price, an eccentric and glamorously aging Manhattan socialite who is going through the last of her inheritance and has decided the solution to her problems is to move to Paris with her son, Malcolm (Lucas Hedges) and their cat. A glorious performance from its leading lady is the best thing about a 2020's French Exit a labored and pretentious comedy where impeccable attention to production values doesn't disguise leaden direction and a meandering and often confusing screenplay.