Afternoon Delight

2013 "The cure for the common marriage"
5.7| 1h35m| R| en| More Info
Released: 30 August 2013 Released
Producted By: 72 Productions
Country: United States of America
Budget: 0
Revenue: 0
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Synopsis

Rachel is a quick-witted and lovable stay-at-home mom. Frustrated with the realities of preschool auctions, a lacklustre sex life and career that's gone kaput, she visits a strip club to spice up her marriage and meets McKenna, a stripper she adopts as her live-in nanny.

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Reviews

novagirl11 I really like Kathryn Hahn, but this is not one of her best. I found myself wondering how much longer there was in the film, which is never a good sign. Some scenes felt awkward and prolonged but not in a good way.
julielaine When I clicked on this movie on Netflix, the title and the poster art made it seem like a light, silly film. While watching I realized it was dramatic and had a lot of layers to it. I really enjoyed it and the acting was amazing. I'd only seen the lead as a quirky supporting actress in films, never the lead. It was quite refreshing to see her in a different light and watch her go through every emotion. I fell in love with the husband, will be googling him for sure! He played his part really well. It probably could have used a bit more humour in the film but as a drama, it was well done. There was one awkward scene where I really felt for the characters. Kind of like, we've all had that moment in our lives that we regret and do not define us. I'm not sure how others felt about this movie but I feel it is worth a watch.
tigerfish50 'Afternoon Delight' pretends to push the envelope, but it's just another lightweight Indie comedy-drama with a fickle plot. The story relates how a frustrated LA housewife called Rachel visits a strip club with her husband in order to revive their sexually comatose marriage. A lap dance from a stripper somehow provokes Rachel to hire the girl as a live-in nanny for her young son. This foolish decision is clearly driven by latent desire for the dancer, but the film doesn't develop the idea with any serious intent. The stripper turns out to be a decent nanny, but the new domestic arrangement leads to some awkward situations. After Rachel chooses to accompany her stripper/nanny on a call-girl appointment, she becomes hostile to the girl and the dynamic changes. The script choices remain consistently capricious throughout, exemplified by the meltdown of Rachel's therapist, who suddenly confides her lesbian relationship has broken up, and starts weeping about it during a session - and once again there is no follow-up. Eventually Rachel and her husband get down to business in the bedroom without needing to address any of their problems - so there's that.
l_rawjalaurence In reviewing any film, it's important to keep one's feelings towards the plot and characters separate from one's judgment about the piece as a work of art.This is especially true of Jill Soloway's low-budget film, whose characters are thoroughly despicable. Rachel (Kathryn Hahn) is a bored homemaker frustrated with her marriage to workaholic Jeff (Josh Radnor): unable to find satisfactory help from her therapist (Jane Lynch), Rachel adopts local hooker McKenna (Juno Temple) as her live-in nanny for her son Logan (Sawyer Ever). For the most part McKenna does a competent job, studiously keeping her personal and professional lives separate, while Rachel makes a good stab of not telling her middle-class friends precisely what she has done. Inevitably, however, the situation ends in tears, with Rachel's uncomfortable secret being discovered, and McKenna moving out amid acrimonious circumstances.The film resembles DESPERATE HOUSEWIVES with added sexual spice, as it focuses on the empty lives of a group of well-to-do homemakers with plenty of money but little to entertain themselves except going to parent-teacher association meetings, or organizing events at their children's high schools. This boredom is what drives Rachel into the futile task of trying to 'rescue' McKenna. The fact that the younger girl might not want rescuing seems not to enter Rachel's head. At the end director Soloway invites us to reflect on who is the most morally culpable: is it Rachel, her husband, or the group of women she associates with? Filmed on a low budget, but with a good eye for light and shade (much of the action takes place in bright Californian sunshine, an ambiance that seems especially inappropriate for the morally dubious material in the script), AFTERNOON DELIGHT makes a damning criticism of middle-class life, especially that practiced by people with too much money and very little self-awareness.