We meet Lily (McCarthy) and Jack (Chris O’Dowd). While they’re painting a mural on the nursery wall and talking about their daughter’s future and in certain types of movies.
Which means the baby is likely to be doomed. Is it that kind of movie? Hmm, I’m a soldier: Then we watched a dubious CGI bird embark on an epic quest. Flying back and forth and flying from there to buy shells of a particular brand of bar food for its nest.
The nest is in the tree in front of a cute country house which would be ideal for a family. Provided the family is still together and not torn apart by death. That would be sad.
Lily, very distracted, works at the grocery store.
His manager, Travis Delp (Timothy Oliphant, who shouldn’t be playing a character surnamed Delp). Teaches him that he’s not trying too hard.
However, that’s understandable since this has happened to him – it’s still unexplained, although we already know what happened. He went to where Jack now lives, and a group therapy meeting was held there.
I’m trying to say that it’s an institution, and that’s what the film is trying to say without saying it. Though it would be of little help if it did. Gradually you will realize that this is a mental hospital.
And even though Jack is the only one in the institution, the doctor says to Lily. “You have to do the job,” which she doesn’t want to hear.
He gave Lily the number of a doctor to call. And his name was Larry Fine (Little), a novice and, of course, a veterinarian. He used to be a psychologist, but he gave up. And now he runs an office where Lily can visit him to cuddle his paws to random dogs.
Lily can’t just sit around and do nothing in a cute house. Where she doesn’t have a baby and is alone because her husband is being briefed, so she gets out of the lawnmower and tries to do something for the long-neglected lawn.
This was the moment he disappeared from the symbolism and found himself bleeding on the ground. Bad things. He convinced Dr Larry Fine for helping him understand what a bird is, so it has more symbolic/metaphorical value.
And if you don’t know, it’s a start, and if you don’t know:
He starts listening to problems with it. He started wearing a soccer helmet when he opened the garden in form, so the analogy of aggressive and territorial wings now just bounced off his head.
She also cleaned the nursery and swapped the crib and all the furniture. In theory, she moved with a shabby synthetic leather chair because it was “weird” and “funny”.
Meanwhile, Jack struggles during his therapeutic ceramics class, pretending to take his medicine, spitting it out, and hiding it in a shoe.
He said he didn’t want Lily to revisit him, and he was angry that she brought him a specific type of breakfast every week because he knew he liked that type of breakfast since childhood, and now he is giving too much.
Time packages arrange this particular branded breakfast in a complex pyramid like a whole bean. After all, Jack and Lily broke up.
We still don’t know exactly what happened, but this film tries to tell us what happened even though we already understand it, even if we don’t know the specifics. Also, I thought the bird was just a bird and didn’t know how to be anything else.
There is a shared empathic pain we experience:
When we watch movies about parents trying to rebuild their lives after their child dies. The Starling is undoubtedly trying to cause this pain, but sometimes I wonder if the movie is trying to get you to eat a specific type of breakfast.
Here and there, McCarthy and O’Dowd take part in individual scenes where they sound like people are talking to each other, and this film finds a bit of truth and honesty. But these moments pass you by, as the film is primarily deceptive, manipulative, false, sentimental bullshit.
Starling’s message is that we must work hard to receive something. But sometimes, you can avoid engaging in bullshit, so you don’t have to let it go, and yes, that’s a metaphor for watching this film. Or you don’t see it.