
Scary, sad and honest!

Pfeiffer plays Ingrid as a self-absorbed succubus, a steely beauty whose soft features can harden into fierce will and whose speeches of lone-wolf self sufficiency hide an emotional vulnerability. She feeds Astrid a poisonous philosophy of misanthropy that almost kills her as surely as the white oleander milkshake that poisoned the mother's former lover.
The leaping story line, shaped by director Peter Kosminsky into sharp slivers and cutting impressions, shows all the signs of rich detail condensed into a few evocative images and striking character traits.
Ingrid's cruelty and hypocrisy scream louder than the pain of her own damaged life, but Pfeiffer devours every one of her scenes with a ferocious performance.
In contrast, Astrid's initial foster mothers -- Robin Wright Penn's Bible-thumping ditzy bleached blonde in trailer-park pink and baby blue outfits, and Renée Zellweger's wisp of a needy young wife with an eggshell of an ego -- are like supporting characters in a Dickensian portrait, enigmatic impressions in the life of its orphan hero. Lohman admirably holds her own against these veterans. The bonds of emotional connection are tenuous at best (surely a casualty of the compression) but Lohman blinks little-girl frailty as Astrid adapts chameleon like to please a succession of mother figures and encases her bruised heart beneath layers of emotional armor after each abandonment. Through her succession of identity shifts -- Catholic blond virgin, mop-cropped switchblade sister, designer label princess, raccoon-eyed streetwise survivor -- she never loses the haunted isolation or the sensitivity she releases in loving portraits of faces glimpsed and remembered that she sketches when she thinks no one is looking. "No matter how much she damaged me, no matter how flawed she is, I know my mother loves me," Astrid remarks in the film's tear-jerker of a signature line. "White Oleander" ultimately earns it.
Review ID: 10000000004267782

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