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While not out and out flippant, this is the sort of anorexia film where characters break jokes about not having any desire to visit the Holocaust Museum, keeping in mind that they feel regretful for starving themselves. “Deep down” would scarcely qualify as a drama, yet it doesn’t adopt the child gloves strategy either — truth be told, its mentality appears to be savagely brutal now and again — inferable from the way that it was roused at any rate to some extent by Moxon’s own understanding (as a youngster, she starved herself so seriously that her heart ceased quickly).
Considering Moxon’s expert CV as an essayist/maker on such feisty shows as “Buffy the Vampire Slayer,” “Unbelievable,” and “Sweethearts’ Guide to Divorce,” it’s somewhat irrational that she picked the most TV-proper subject of her profession to fill in as her extra large screen directorial make a big appearance. But, Noxon’s sufficiently sharp to know exactly how to stay away from the sensational pitfalls that would have made her script play like simply one more infection of-the-week exceptional.
To the extent Ellen‘s family is concerned, she should color before their eyes — and it’s hard not to concur with them. Through some mix of weight reduction, visual impacts, and cosmetics (obscured eye attachments, overstated shadows around the cheekbones and collarbone), Collins looks more like a Goth zombie or body than your normal testy adolescent. Ellen is a capable craftsman, yet doesn’t portray much — not since an occurrence with her Tumblr sustain disastrously affected a kindred “rexie.” And she has a cunning thought on the world, regardless of the possibility that she hasn’t exactly concluded that she needs to stick around and live in it.
That last part of her identity is both the core of her condition and the thing that makes her a to some degree disappointing character to watch. All things considered, films are most convincing when they serve up a propelled character with obvious objectives and a ticking-clock due date on which to accomplish them. Ellen’s issue is that she’s apathetic, withdrawn from life, and conceivably self-destructive in one of the slowest-movement implies conceivable. Every other person — from her progression mother (Carrie Preston) and stepsister (Liana Liberato) to her organic mother (Lili Taylor), now a lesbian — is obviously pulling for Ellen’s recuperation. In any case, as any specialist can let you know, mending just happens when the patient needs to show signs of improvement