At times, To The Bone -- Netflix's new original film -- is one of those films that is insightful to the point of being uncomfortable. Centred on a young woman's battle with anorexia, the film occasionally presents a refreshingly honest and realistic take on mental health, offering surprisingly poignant moments that should speak to anyone who has experienced the trials of mental illness in themselves or those they care about. On the other hand, the film is also incredibly uneven, filled with underdeveloped characters and an unfocused plot. The result is a film that isn't so much enjoyable as it is occasionally interesting, though it does require a fair amount of understanding and acceptance when it comes to the irrationality of mental illness.
Lily Collins stars as 20-year-old Ellen, a college-dropout artist suffering from anorexia. Following a fourth failed attempt at in-patient therapy, Ellen's stepmother Susan (Carrie Preston) manages to get her admitted into the programme of Dr Beckham (Keanu Reeves). Known for his radical approach to treatment, Dr Beckham puts Ellen in a group home he calls Threshold, where she meets and befriends other anorexic girls and Luke (Alex Sharp), a male ballet dancer recovering after a knee injury.
One of the things that stands out about is its tone when it comes to portraying the patients of Threshold. There is a refreshing humanity to them, making light of their shared condition, calling themselves "rexxies" or joking about how to know when you've thrown up your entire stomach. Director Marti Noxon (who herself dealt with anorexia in the past) shows some real insight in the portrayal of the patients, such as their obsession over calories ("calorie Asperger's", the film calls it) or their awareness of the inherent irrationality of their condition.
Ellen is a smart person. Lily Collins imbues her with a certain brightness, a glimpse of the potential she could call upon if free from her condition. She knows that her unwillingness to eat is irrational. She wants to live, to get better, but as she confesses to Dr Beckham in one scene, she just can't. Like many who suffer from depression or anorexia or any type of mental illness, Ellen is deeply hoping for that one turning point, the event that will somehow flick a switch in her brain and give her the strength to overcome the voices in her head. Unfortunately, as Dr Beckham ineloquently puts it at one point, the only way to overcome those voices is to "nut up", or otherwise have a true willingness to change in the first place.
The inherently illogical nature of mental illnesses gives the film an uncomfortable atmosphere throughout, which doesn't make for the most enjoyable viewing experience. In hindsight, though, I can't help but wonder if this frustration I feel isn't the entire point. Like Ellen's family members, I can't help but be a little anxious when forced to watch her starve herself. Like Ellen, I can't help but ask why, over and over again, and struggle to come up with a good answer. It's a good way to portray the state of mind of mental-illness patients, and the destructive cycle of thoughts that bind them to it.
Unfortunately, these moments of insight make up only about a third of the entire movie. Much of the second half is spent on the romantic subplot between Ellen and Luke, a move that seems very Hollywood in a movie that is otherwise more reminiscent of artsy slice-of-life films like 2010's Blue Valentine (though not nearly as good). The subplot ultimately doesn't lead anywhere, though that probably isn't a surprise considering how annoying Luke's character is.
Obnoxious as he is, though, Luke is the only character besides Ellen who undergoes any kind of development (though even that isn't saying much). Other members of the house -- Dr Beckham included -- receive very little background information to explain their motives or character traits. We get no real information about any of the other patients besides Luke, beyond immediate archetypes, while Dr Beckham himself gives a phoned-in performance, appearing only sporadically to play the obligatory role of inspirational therapist. We never get a glimpse of the radical treatment he is so famous for, or any kind of information beyond his role in the story. These characters are just walking, talking plot devices, which gives the film a somewhat hollow core.
Ultimately , To The Bone is the kind of film that will either resonate with you deeply or not even register. It certainly contains some measure of true insight and experience, with some decent acting from Lily Collins (despite her limited material) that makes Ellen easier to root for despite the absence of characterisation. This doesn't necessarily make the film good. To The Bone has something to say, though few will stick around to hear its message.
