Sarandon lets Adele teeter on the brink of the blowsy and the pathetic, yet always pulls her back in time, making us see beyond the obvious. And if her love for her daughter is needy, and tinged with self-interest, it's love nonetheless. However, these rougher edges are visible early on, and repetition sets in. Worse, he softens the book's ending, so that the final frames drift into sentimental territory that may please his audience, but definitely betrays his actors. But Here deserves anything but that.
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