You can’t help asking just what Noah Baumbach’s upbringing must have been like. His breakthrough movie, 2005’s The Squid And The Whale, pitilessly dissected the divorce of a highbrow Brooklyn couple, seen mainly through the eyes of their confused, distressed teenage sons – and was by all accounts largely autobiographical. Now comes Margot At The Wedding, again constructed around a fractured family – but this one’s so viciously dysfunctional as to make The Squid’s clan look like the Waltons.
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