‘If I Had Legs I’d Kick You’ Review: Rose Byrne Is Brilliantly Unhinged in a Chaotic Maternal-Meltdown Drama

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Many individuals find solace or entertainment in movies by escaping their own troubles, while others derive satisfaction from witnessing other people’s distress, either finding relief or amusement in the thought that someone else has it harder. The movie “If I Had Legs I’d Kick You,” with a title suggesting trouble, seems to fit the latter category. In this film, Linda (played by Rose Byrne), who is under immense stress due to her husband’s absence and her daughter’s medical condition, is depicted in such a way that we are drawn into her troubled mind. As the walls close in, the ceiling caves in, and the ground gives way, it becomes apparent that Linda’s sanity may be slipping away.

A movie in a similar style to “Good Time” or “Uncut Gems,” both films that Bronstein’s husband Ronnie helped write, the upcoming A24 release offers a unique twist by focusing on a female perspective, giving it a Safdie-like feel but with a fresh, feminine touch. For those who have seen the chaotic “Daddy Longlegs” from these directors, this movie could be likened to its calmer counterpart, “Mommy No-Legs.” This film is an extraordinary portrayal of mental breakdown, using every directorial skill to create a sense of impending doom on a deeply personal level. In a performance that promises to be one of the year’s standouts, Byrne delivers a feverish, raw-nerve acting display that prepares us for the emotional gymnastics her writer-director has planned.

Similar to Bronstein’s relatively unknown 2008 film “Yeast,” where she collaborated with Greta Gerwig, her latest movie, which is intense and devoid of air, primarily focuses on close-ups of Byrne’s face, capturing Linda as she struggles with more than she can manage. Unlike explaining the pressures she faces, the movie immerses us directly into her world, making it clear that her role as a mother to a high-maintenance child (Delaney Quinn) is demanding, well before we learn about her additional role as a guidance counselor at the Center for Psychological Arts and Mom Talk.

Theoretically, Linda appears well-equipped to manage a largely unseen, autistic daughter due to her skills. However, this daughter is frequently vocal with dramatic questions from the back seat or another room. It’s only at the end that cinematographer Christopher Messina (previously a camera operator for “Good Time”) shows the girl’s face. Until then, she seems to symbolize Linda’s emotions – from impending anxiety to anger towards her distant husband (Christian Slater, portrayed as practical) who occasionally calls. The girl also represents Linda’s feelings of inadequacy as a mother overall.

The later topic – along with the unconventional perspective it presents, suggesting some women may prioritize careers over parenthood – has been a recurring theme in recent films directed by women. Examples include Marielle Heller’s “Nightbitch” and Maggie Gyllenhaal’s “The Lost Daughter”. In this story, Linda grapples not only with the idea that she might not be cut out for motherhood, but also the fear of acting impulsively, such as harming her own child. This fear is mirrored in media discussions about mothers who commit crimes, which often attribute their actions to underlying mental health issues.

These videos aren’t blatantly ominous, but they provide a glimpse into Linda’s mental state. Her tense interactions with her therapist (and colleague), humorously portrayed by Conan O’Brien with a persistent look of discomfort on his face, hint that her worries might be causing him distress. However, Bronstein doesn’t immediately reveal the irony – Linda is trained to provide the kind of advice she herself needs. Yet, it’s evident from her discussions with different medical professionals that she has the knowledge to comprehend what she’s experiencing.

In essence, her actions might actually be exacerbating the situation because Linda has a habit of questioning or contradicting those who are trying to assist her (and this is further indicated by the dream she shared in session, which suggests that she harbors unresolved feelings for O’Brien’s character). Simultaneously, she demonstrates little tolerance for her own clients. For instance, Danielle Macdonald from “Patti Cake$” portrays another anxious mother, while Ella Beatty embodies a superficial millennial and Daniel Zolghadri, star of “Funny Pages,” plays a demanding young adult.

In Bronstein’s stories, none of the characters can be considered ordinary – not even James (A$AP Rocky), the helpful neighbor at the hotel where Linda moves following the family’s apartment flood. Considering his frequent use of marijuana and nightly consumption of multiple bottles of wine, viewers might wonder if some of the more dreamlike scenes are actually happening, such as the enormous hole in Linda’s ceiling that serves as a gateway to the cosmos, allowing her anxieties to drift away.

In a similar fashion to films like “Beau Is Afraid” or “Punch-Drunk Love”, “If I Had Legs” employs an intense score, abrupt edits, and confined camerawork to convey the intense pressure felt by its protagonist. Some viewers might find this style amusing, while others may find it overwhelming as they witness Linda’s gradual emotional collapse. Beneath its unsettling portrayal lies a profound exploration of societal expectations towards women, the perception of men as stable figures (who seldom shoulder equivalent responsibilities), and the blurred boundary between extreme stress and mental illness.

The film reveals that Hollywood has not fully recognized Byrne’s potential until now, often typecasting Kristen Wiig’s competitor as either comical or generic roles such as wives, mothers, and secondary characters. In contrast, the character of Linda seems incredibly three-dimensional – so vividly portrayed it seems to leap off the screen, causing a sense of unease that is almost palpable, much like the intense seat vibrations in premium 4DX cinemas. At times, it’s almost overwhelming, but Bronstein occasionally adds touches of absurd humor, such as the scene where Linda reluctantly agrees to her daughter adopting a demonic hamster.

Observing Linda’s distressed look in her car’s rearview mirror, it’s amazing how any actor can contort their face as she does. The play “If I Had Legs” demands exceptional dedication from its lead actress – and a good dose of schadenfreude from the spectators.

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2025-01-25 02:47