Kevin Bacon & Kyra Sedgwick’s So-So Dramedy

Kevin Bacon and Kyra Sedgwick bring their vivid screen presence and expert timing to The Best You Can, elevating this low-key, Tribeca-premiering dramedy. With strong performances and a fresh premise about an unexpected friendship in middle age, but far too many creaky comic tropes, the uneven film is always watchable but never pops off the screen in a gripping way.

It’s the second feature written and directed by Michael J. Weithorn, a co-creator of The King of Queens and a veteran writer on other sitcoms. It’s simply descriptive and not a disparagement to say that with its often strained plot and quick-hit sitcom timing, the film is most likely to appeal to an undemanding audience and an older demographic.

Sedgwick plays Cynthia, whose brilliant husband, Warren (Judd Hirsch, reliably on point), once on the staff of the Watergate committee, is now 83 and sliding into dementia. At the start she appears overly chatty and hyper, a character trying too hard for comic effect — especially when she first meets Stan, a security guard.

Bacon slides easily into the role of Stan, but his character is also introduced as a comic cliché. In the most blatant of the sitcom-style tropes, Stan has a prostate problem and while patrolling neighborhoods at night uses shrubbery as a makeshift urinal. When the alarm in Cynthia’s house goes off and calls him to the scene, he urgently asks to use her bathroom — and what a coincidence, she is the perfect person to treat his problem, as she announces with fluttery, over-the-top enthusiasm.  

The forced comedy calms down a bit when they also begin a friendship, often through text messages, which the actors deliver in voiceover. Cynthia tells Stan about grappling with her husband’s situation, and he confides in her about his fraught relationship with his daughter, Sammi (Brittany O’Grady), a struggling singer-songwriter who lacks confidence. The text technique works more gracefully than in most films, but again lame stabs at humor intrude. As they get to know each other, Cynthia asks if Stan is in touch with his ex-wife, and he texts back, “Only by voodoo doll.” Yikes.

As the friendship between Stan and Cynthia develops, it has some touching moments. Sedgwick lets us see how much Cynthia still loves and is devoted to her husband, and also how lonely his condition has made her. And Bacon is so vibrant as the intelligent, sharp-witted Stan that he makes you wish Weithorn’s screenplay had done more to fill in the character’s backstory. How did this guy turn out to be such an underachiever and such an awkward father?

Wisely, the film acknowledges but doesn’t overplay the inevitable romantic overtones the friendship takes on. And Bacon and Sedgwick never let their status as a well-known married couple in real life intrude on their character’s delicate, tentative relationship. Each gets a long, emotional monologue near the end that they deliver with smooth naturalism. It’s easy to imagine how much more pedestrian the film would have been with lesser actors in those roles.

Weithorn gets strong performances from the supporting cast, notably O’Grady, whose brief musical scenes as Sammi are solid additions to the film. The father-daughter relationship may be the film’s most believable, as we see that Stan means well and tries to encourage her but says all the wrong things.

Olivia Luccardi plays Stan’s younger sometime-hookup, whose sexting with him is played for some effective laughs. Ray Romano appears in a brief cameo in a video call as a doctor friend of Cynthia’s who advises her on Warren’s condition. And Meera Rohit Kumbhani, as Warren’s caregiver, has one of the film’s stronger more unexpected twists when it turns out she has recorded the memories he is still able to recapture.

If only the film had risen to that level of surprise and emotional poignancy more often, with more of the wistfulness that comes to infuse Cynthia and Stan’s friendship and with humor that was less eye-rolling.