Blackbird

When cinematic families gather, it’s generally supposed to be for dysfunctional holiday squabbling. That’s sort of true in Blackbird, although the occasion is much more somber.

From the first frame, you know how this ensemble drama about euthanasia is going to end. Still, a top-notch cast brings depth and complexity to an otherwise mediocre script that too eagerly yanks at the heartstrings.

The story centers on Lily (Susan Sarandon), a terminally ill matriarch losing her mobility to the neuromuscular disease ALS. She’s picked when and how she wants to die, with the blessing of her longtime husband, Paul (Sam Neill), who uses his connections as a doctor to procure the lethal — if illegal — drugs.

But first, Lily wants to gather her family at their beach house to say goodbye and celebrate one final Christmas, even though it’s summer. The visitors have mixed emotions about her decision, including Lily’s eldest daughter (Kate Winslet), who arrives with her husband (Rainn Wilson) and teenage son (Anson Boon).

Also present are Lily’s lifelong best friend (Lindsay Duncan) and her estranged younger daughter (Mia Wasikowska), who brings her outspoken girlfriend (Bex Taylor-Klaus) and invites confrontations with her sister and mother about her lifestyle choices.

Eventually, the reserved Paul lets his guard down with his daughters regarding Lily’s plan: “People in this situation are usually intelligent, articulate, analytical — and deeply, deeply controlling.”

You get the feeling that honest communication has never been a strength in this family. As the inevitable draws closer, everyone’s fresh grief brings lingering hostility to the forefront, precipitating a parade of bickering and misdirected accusations.

As directed by veteran British filmmaker Roger Michell (Notting Hill), the film creates some intriguing character dynamics, capturing the awkwardness of such an occasion through empty gazes and meaningless small talk.

The screenplay is credited to Christian Torpe, who also wrote the 2014 Danish film upon which this English language remake is based.

Sarandon’s portrayal provides an emotional anchor, although this sincere exploration of dying with dignity and going out on your own terms manages only minimal tension. Meanwhile, contrivances intended to spice things up instead derail much of the narrative momentum in the second half.

Blackbird might work better on stage or as some sort of acting workshop. In this case, however, the emotional impact doesn’t match the ethical and psychological stakes.

Rated R, 97 minutes.