In their escape from New York City, the vegetarian Seth (Zach Gilford) and vegan Andie (Jena Malone) are unaware that Seth’s father Gil (John Slattery) will also be at the cabin, a destination of refuge that becomes anything but. In Our Nature begins like any horror film would, but a film that is nearly just as predictable. There are no horrors or tragedies aside from the uncomfortable conversations between Seth and his estranged father, or Seth and Andie, or Andie and Gil, or Gil and his new girlfriend cum mother to be Vicky (Gabrielle Union), or Vicky and…
And, this is the problem – or at least one of the problems: the movie is a circuit of uncomfortable conversation between interchangeable partners. The arc of the narrative can be prophetically charted by figuring out who has spoken to whom. And each conversation is just as predictable. Something friendly – or pseudo-friendly – is said; something condescending or sarcastic is said; the conversation devolves to hurt feelings for one or both of the parties.
In our Nature is an economy of issues and arguments with each character feeding off the other. The most cynical, anal retentive and sarcastic of the group are the men and their tension-filled détente, and this ultimately casts the women as the peacemakers trying to cram this broken relationship back together. So, amidst the predictable interactions are stereotypical characters that paint a rather cynical portrait of family dynamics.
This is not to suggest that these dynamics don’t exist in real life, but everything in this film is an issue with someone, and no one – all of whom are adults – has any tact. Even the women peacemakers suffer from verbal diarrhea, which spirals the entire brood into dislikability.
In truth, the film tries to be poignant, but it relies on too many clichés. One of the only times that Gil is approachable and open is when he’s smoking pot with Andie. I’m sure he’d be more open to chatting about his feelings amidst cracks about munchies, but this too is very predictable, as is every calm before the storm and Gil’s confusion between vegan and vegetarian.
In a nod to In our Nature’s embrace of the cliché and a lame attempt at the metaphysical understanding of life, this film takes a page right about of Renaissance literature and breaks the tension – momentarily of course – with a bear. A literal bear. One that gets in the house. One that provides the beauty of the lake house pastoral. One that ultimately inspires conversations about blame, who’s to blame, and a foreseeable revelation.
Overall, the exploration of family dynamics is a fine topic, but when each person is jaded, cynical, sadsack, there is little root for, to care about, or to embrace. Tension is good a good thing, but predictable catastrophe is another.
The best part of the movie is the ending, not necessarily because it’s the end, but because of how it ends. In a way, it justifies what the film was trying to do; it’s just unfortunate that it took so long to get there.
