I liked these characters precisely because they were not designed to be likable -- or, more precisely, because they were likable in spite of being exasperating, unorganized, self-destructive and impervious to good advice.

In "Upside" Allen's marble face acts as the pressure-cooker lid on a hilarious hissy fit.

Original, unfailingly entertaining marital-breakup movie.

A fiercely funny human comedy with jokes that sting and leave marks.

In making such an appealing movie about characters who are usually swept under the Hollywood rug, Binder does us all a service.

A squarely suburban movie with a distinctly bourgeois-shaped window on the world, but it's genuine and exceptionally well observed.

Allen turns the character into a tour de force that unleashes an unexpected comedy about compassion and self-loathing.

Increasingly exhibits a desire to amuse and distract rather than go deep, which ultimately generates disappointment in light of its announced intentions.

One senses that this is an intensely personal project for Binder, who is not as forgiving as he might be toward the mercurial mother. Still, the film is carried by Costner and Allen, who project a chemistry so incrementally built on reluctant camaraderie, they almost seem like siblings.

As this matron on the loose, Allen is rancorously funny.

If Allen owns The Upside of Anger, she is generous enough to loan it to Costner, who, despite the dim, glazed eyes, is more alive here than he's been in years.

Compelling and honest with flashes of dark humour which makes this a meaty comedy drama.

Wondrous performances.

The Upside of Anger belongs to Joan Allen (for whom director/screenwriter Mike Binder developed the project).