is a bit of a mess, it’s often an appealing one. After a handful of remarkable appearances in early ’00s indies, McTeer mostly disappeared from American screens; her very posture and gait bend gender, and her warm, charismatic, wry performance marks a welcome return. It’s gotten to the point where you can rely on Brendan Gleeson to elevate anything he’s in almost single-handedly, and he nearly does so here while having a laugh as the dissolute house doctor. Wasikowska, likewise, presents herself yet again as a bright spot, making her underwritten character appealing enough despite Helen’s immature inconstancy. The melodramatic peaks and valleys and twists and turns these characters endure might send even the most unimpressed viewer reaching for a tissue at some point, but such good performances—including much of Close’s—make you wish for a better movie to do them justice.