Gloria Bell

Based on 2013’s Gloria, Gloria Bell follows Julianne Moore’s title character as she goes about her day-to-day life and begins seeing a recently-divorced man (John Turturro’s Arnold). Filmmaker Sebastián Lelio has infused Gloria Bell with a low-key, slice-of-life feel that’s certainly reminiscent to the vibe of the original picture, as the movie, in its early scenes, is concerned mostly with the minutia of the protagonist’s less-than-exciting daily exploits (eg Gloria goes to work, Gloria hits the club to meet men, etc). It’s a subdued atmosphere that’s perhaps not quite engrossing yet is certainly far more intriguing than one might’ve anticipated, with the success of this stretch due almost entirely to Moore’s frequently captivating work as the thoroughly complex and layered central figure (and it doesn’t hurt, certainly, that Lelio has packed the supporting cast with an eclectic roster of engaging performers, including Brad Garrett, Michael Cera, and Rita Wilson). There’s little doubt, then, that Gloria Bell grows more and more involving as time progresses, as the narrative takes a handful of unexpectedly dark turns that pave the way for a mostly electrifying third act – which, when coupled with an exceedingly satisfying conclusion, confirms the film’s place as a solid character study that improves considerably over its decent yet unspectacular predecessor (with Lelio’s decision to employ an almost Paul Thomas Anderson-like approach to the material certainly enhancing the better-than-anticipated vibe).

***1/2 out of ****