Our Take on This, That, and Everything in Between — Messy Family Drama, Unflinching Truths
Netflix's latest family drama dives headfirst into generational trauma. Expect raw emotions, sharp dialogue, and a story that hits close to home for anyone with a complicated family.
About This, That, and Everything in Between
- Platform: Netflix
- Release Date:
- IMDb Rating: 4.5/10
- Genres: Drama, Family
A TV writer returns home to her estranged mother, igniting chaos as they navigate painful secrets and the complexities of their dysfunctional family.
WatchThisFlix Review
By WatchThisFlix Editorial Team
## The Setup
*This, That, and Everything in Between* drops us into the highly combustible world of the Millers, a family defined by unspoken resentments and carefully constructed facades. At its heart is TV writer Sarah (played with a weary resignation by the ever-reliable Maya Rudolph, in a role that feels surprisingly fresh for her), who, after years of carving out a successful but emotionally distant life in Los Angeles, is reluctantly pulled back to her childhood home. The catalyst? A vague, yet undeniably urgent, crisis involving her estranged mother, Eleanor (a formidable, heartbreaking turn by Glenn Close). Eleanor is the matriarchal black hole around which the entire family orbits, sucking in light and leaving a trail of emotional debris. The film wastes no time in establishing the deeply rooted dysfunction; Sarah's arrival is less a homecoming and more an invasion of hostile territory, immediately igniting old wounds and forcing everyone to confront the painful secrets that have festered for decades. The premise promises a deep dive into the complexities of parent-child relationships, the weight of inherited trauma, and the often-futile attempt to rewrite a family's narrative. It's a world where love is tangled with manipulation, and forgiveness feels like an impossible dream.
## What Works
First and foremost, the performances in *This, That, and Everything in Between* are nothing short of phenomenal. Maya Rudolph, often typecast in comedic roles, delivers a nuanced, deeply felt portrayal of Sarah. She embodies the exhaustion of a child perpetually seeking approval, the frustration of an adult trying to break free, and the subtle flicker of hope that perhaps, this time, things might be different. Her scene in the kitchen, where she finally confronts Eleanor about a childhood incident involving a broken vase, is a masterclass in controlled rage and profound sadness. You can see the years of therapy, the carefully constructed emotional walls, crumbling under the weight of her mother's dismissiveness. Glenn Close, as Eleanor, is a force of nature. She doesn't play a villain; she plays a woman so mired in her own pain and self-preservation that she's incapable of genuine empathy. Her passive-aggressive jabs, her ability to turn any conversation back to her own suffering, and her subtle gaslighting are chillingly real. The film doesn't shy away from making her unlikable, but Close imbues her with enough vulnerability that you can almost, *almost*, understand the monstrousness. The scene where Eleanor, seemingly out of nowhere, starts recounting a deeply personal and embarrassing story about Sarah to a casual acquaintance at a grocery store, while Sarah stands frozen, is a gut-punch that perfectly encapsulates their dynamic.
Beyond the central performances, the supporting cast shines. Sarah's siblings, particularly her brother Mark (played by Sterling K. Brown), offer different perspectives on Eleanor's influence. Mark's quiet resentment and his attempts to mediate, often futilely, provide a necessary counterpoint to Sarah's more confrontational approach. The writing, penned by newcomer Olivia Chen, is remarkably sharp and authentic. The dialogue crackles with the kind of layered meaning and unspoken history that only true family conversations possess. There are no grand, theatrical monologues; instead, the power lies in the subtext, the loaded silences, and the devastatingly accurate barbs. The pacing, while deliberate, never feels slow. The film trusts its audience to sit with the discomfort, allowing the emotional tension to build organically. Cinematographically, the film uses tight close-ups and often claustrophobic framing within the family home, effectively mirroring the characters' trapped emotional states. The muted color palette further enhances the sense of a family living under a perpetual grey cloud. The themes of generational trauma, the impossibility of true escape from one's past, and the elusive nature of forgiveness are explored with unflinching honesty. It's a film that understands that healing isn't linear and often requires breaking things further before they can even begin to mend.
## What Doesn't
While *This, That, and Everything in Between* excels in its character work and emotional depth, it isn't without its stumbles. The film's ending, specifically the ultimate resolution (or lack thereof) of the central conflict between Sarah and Eleanor, feels a bit too ambiguous for the emotional investment it demands. After nearly two hours of intense, often brutal, emotional warfare, the final scene leaves you wanting a slightly more definitive statement or at least a clearer indication of where these characters might go next. It leans heavily into realism, suggesting that some family dynamics are simply too entrenched to ever truly change, which is a valid artistic choice. However, for a drama that builds such a strong narrative arc of confrontation and potential reckoning, the quiet, almost understated conclusion feels a little like pulling a punch. It's not that every loose end needs to be tied up with a neat bow, but a touch more emotional catharsis or a more tangible shift in understanding, even if small, would have elevated the impact. Additionally, some of the flashbacks to Sarah's childhood feel slightly underdeveloped. While they serve to illustrate the origins of the current dysfunction, they occasionally interrupt the flow of the present-day narrative without always adding significant new insight beyond what's already clear from the adult interactions. A deeper dive into Eleanor's own past, perhaps, could have provided more context for her destructive behavior, rather than simply presenting it as a given. The IMDb rating of 4.5, while often unreliable, hints at a segment of the audience that found the film's relentless emotional intensity and lack of a conventionally 'happy' ending challenging. It's a film that demands emotional labor from its viewer, and some might find the payoff insufficient for the journey.
## Who Is This For?
This is a film for viewers who appreciate raw, character-driven dramas that don't shy away from the darker, more uncomfortable aspects of family life. If you've ever found yourself entangled in a complicated family dynamic, felt the weight of unspoken expectations, or struggled with the push-pull of loving someone who constantly hurts you, this film will resonate deeply. It's for fans of films like *August: Osage County*, *Manchester by the Sea*, or even certain episodes of *Succession* — stories where the drama stems from deeply flawed people interacting in highly personal, often painful ways. Watch it when you're in the mood for something thought-provoking, emotionally challenging, and willing to confront uncomfortable truths. Do not expect a feel-good movie or a lighthearted escape. This is a film to watch when you're ready to reflect on your own relationships and perhaps even shed a few tears. It's best viewed alone or with someone who appreciates intense dramatic performances and nuanced storytelling, rather than as a casual group watch.
## Final Verdict
*This, That, and Everything in Between* is a brutally honest, impeccably acted deep dive into the kind of family dysfunction that leaves scars for generations. While its ambiguous ending might leave some yearning for more definitive closure, its unflinching portrayal of complex relationships and stellar performances from Maya Rudolph and Glenn Close make it a compelling, albeit emotionally draining, watch. It's not a movie for everyone, certainly not for those seeking an easy escape, but for viewers willing to sit with discomfort and confront the messy realities of family, it offers a powerful and resonant experience. Watch it tonight if you're ready for a substantive, challenging drama that will stay with you long after the credits roll; skip it if you prefer your family stories with a side of saccharine resolution.
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