Shoot the Moon

The “Dunlap” family are living out the dregs of the marriage of novelist “George” (Albert Finney) and “Faith” (Diane Keaton) before he ups sticks and leaves her and their four daughters to take up with “Sandy” (Karen Allen) - herself recalibrating after a failed relationship and a woman completely in love with him. “George” is a bit of a selfish man, and though he certainly wants his mistress, he also wants his family, his home and essentially - his cake and eat it. Why, thinks “Faith” should she just sit at home waiting for him to grow up? Surely it’s time for her to do a little exploring of her own? Well an opportunity arises when the man who was supposed to be installing her tennis court turns up. She hasn’t his $1000 to pay him, but when he hears of her predicament “Frank” (Peter Weller) agrees to try and work something out. So now the scene is set, she is making some headway and he has his “Sandy”. Satisfaction? Well no. It’s fair to say that he hadn’t really considered the impact of his actions on himself, certainly, but nor had he on his children and his elder daughter “Sherry” (Dana Hill) swiftly makes it clear that she wants nothing to do with her errant father. This is something he can’t accept, and coupled with his soon to be ex-wife’s ability to seemingly get on with her life, his troubles start to have a toxic effect on not just “George”but on pretty much everything he touches. Tantrums and fits of rage ensue and Finney is very much in his element as his character gradually loses the plot, but it’s really the more subtle but forceful effort from Keaton that stands out here. She exudes a palpable degree of frustration and anger as well as a stoicism borne from her need to care for her children and a strength to try to find a life for herself, too. There is also a fairly compelling effort here from the young Hill who delivers well struggling to come to terms with why her family is being torn asunder. It has dated a bit, and the story itself is nothing especially new nor is much of the route it takes for a couple of hours of dramatic family dysfunction but the performances do merit watching and the denouement offers a degree of catharsis that only a film set (with lots of insurance) could supply.