In the past few years, the phenomenon of marriages falling apart has been inspected and dissected over and over again in film. From Marriage Story to, most recently, in Anatomy of a Fall, couples disbanding isn’t a new concept to look into, meaning that if a project doesn’t add its own layers of nuance and intrigue when addressing this theme, the end product might wind up being a lesser version of something that came before it. Millers in Marriage is one of those titles that doesn’t live up to the same level of panache that productions before it did, not adding anything to the conversation other than blatant melancholia. The family drama, written and directed by Edward Burns, is centered on three siblings who are all in shattered unions. Although each of their relationships is faced with different obstacles, the outcomes are similarly underwhelming. As a result, instead of bringing depth to a dialogue-driven narrative, the film becomes a shallow character study with an underserved cast.

What Is ‘Millers in Marriage’ About?
Burns’ latest directorial effort starts with Eve (Gretchen Mol) calling her siblings to double-check if they’ve heard anything about her husband Scott (Patrick Wilson), who has been MIA after a business trip and could likely be drunk somewhere. This first glance at their relationship is enough to know that the main struggle that prevents them from living in harmony with each other is his alcoholism, leading her to feel concerned for his safety constantly and put her wants and needs second to his (particularly when it comes to her music career). Meanwhile, her know-it-all sister Maggie (Julianna Margulies) is also experiencing a rough patch in her own marriage to Nick (Campbell Scott). After becoming empty nesters, Maggie is able to carry on with writing her novel seamlessly, whereas Nick has been struggling with writer’s block ever since their kids left for college. His lack of productivity gets on her nerves, which only drives them apart more.

The last sibling that the film focuses on is Andy (played by Burns), a recent divorcé trying to kick-start a new relationship with Renee (Minnie Driver) while still harboring feelings for his ex, Tina (Morena Baccarin). Through the span of around two hours, viewers see these three dynamics play out, with the main characters ultimately deciding whether to stick by their partners’ side or get separated once and for all.

Burns’ Latest Directorial Effort Is Filled With Miserable Relationships and No Worthwhile Payoff
The truth is that Millers in Marriage starts well with a promising premise and a star-studded ensemble to bring it to life. But instead of the film going for a more Nancy Meyers or Garry Marshall approach, focusing on the light at the end of the tunnel for the multiple individuals bundled in a single movie, it instead just prolongs the couples’ apparent misery to the point that viewers can only hope for them to cut ties with their significant others immediately, just so to prevent the audience from being completely worn out while watching these marriages fall apart. Burns never chooses to focus on the positive moments of the romantic trajectories of the couples, which limits the audience’s drive to want to know more about these individuals and root for their happiness, even if we know they are doomed to fail.

The Supporting Performances Are What Ultimately Keep the Story Afloat
Image via TIFF

Another issue that the film isn’t able to combat is the fact that the supporting cast have far more appealing roles than the leading trio. Instead of audiences wanting to get to know Eve, Maggie, and Andy, we just want to spend time with their much more interesting partners (except for Wilson’s Scott, who is just an irritating drunkard). Minnie Driver, Benjamin Bratt, and Campbell Scott are the MVPs of this family drama because they truly resonate with viewers for their dedication, emotional maturity, and kindness toward their less appealing counterparts. The ending sequences for both Driver and Scott are the moments that Burns’ directorial effort manages to spark reactions from the public. Seeing Scott come to a realization about his spouse through the specificity of her manuscript is just heart-wrenching. It even leaves us to wonder if Millers in Marriage would be much more interesting if the focus weren’t on the Millers themselves but, instead, focus on those in relationships or seeking a romantic connection with one of the siblings.

Aside from the supporting ensemble doing the heavy lifting here, Burns’ script has another minor positive aspect that drives it to be at least somewhat amusing. Although the main characters are underwhelming onscreen, their scripted interactions at least make them credible siblings. In the few moments that Margulies, Mole, and Burns’ characters have the chance to mingle in a gathering, there is an awkwardness in the air that feels like an authentic family get-together. They might love each other, but that doesn’t prevent them from poking fun when it’s appropriate to do so or being there for one another when in need of emotional support. A scene involving Eve and Maggie sharing their sorrows over wine sticks out, showing the importance of transparency between siblings, especially regarding marital concerns that seem too intimate to share with anyone else.

Considering these aspects, Millers in Marriage is far from a captivating broken marriage narrative. It has three insufferable protagonists that audiences are less interested in spending time with in comparison to their partners, and the film never gives audiences a chance to understand why these characters’ marriages got to the irreparable state they are in. Without any flashbacks to when these couples began their journeys as spouses, Burns’ project lacks the depth necessary to make it a compelling character study. Although the siblings at the story’s core have poignant interactions (even if they are sparse), the truth is that by the film’s final moments, the audience will likely leave their viewing experience with a headache and a bitter aftertaste from all the melodrama.

Millers in Marriage had its World Premiere at the 2024 Toronto International Film Festival.