'The Best You Can' Review: Bacon & Sedgwick Find Late-Life Sparks in This Warm, Witty Boomer Dramedy

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Jun 11

Written By Jonathan P. Moustakas

Sometimes the second act is the one worth showing up for

There’s a subdued but undeniable power in watching actors of Kevin Bacon and Kyra Sedgwick’s caliber return to the screen together, not as idealized versions of themselves, but as vulnerable, complicated people grasping at something that still feels unfinished. The Best You Can, the latest Spotlight Narrative entry at the 2025 Tribeca Festival, marks the first major onscreen pairing of the married duo since 2004’s The Woodsman, and they bring with them the kind of authentic chemistry and emotional nuance that can’t be faked. Directed and written by Michael J. Weithorn, a veteran of TV comedies, this film trades in snappy one-liners for something far more tender: a melancholic but hopeful meditation on aging, loneliness, and the possibility of personal renewal.

Sedgwick plays Cynthia Rand, a sharp, self-sufficient urologist trying to care for her much older husband Walter (Judd Hirsch), who is slipping further into dementia. As Walter's memory fades, so too does Cynthia’s sense of direction. When a chance encounter with Bacon’s character, Stan—a weary, fumbling security guard—leads to an unexpected friendship, the story finds its emotional heartbeat. What begins as an awkward intrusion—Stan mistakenly attempting to enter her home during a night shift—quickly evolves into something deeper. Their initial interaction, awkwardly centered around his frequent urination and her professional expertise, plays as both absurdly funny and disarmingly intimate. It's an unusual meet-cute, but one that perfectly sets the tone for what follows: a film that isn't afraid to explore physical decline and emotional stagnation with empathy and warmth.

Rather than rushing their relationship into something overly cinematic, the film takes its time, allowing their bond to form through subtle exchanges—text messages, late-night confessions, and moments of vulnerability that never feel forced. Cynthia, grappling with Walter’s deteriorating condition, finds comfort in Stan’s honesty and humility. Stan, meanwhile, is struggling to connect with his adult daughter Sammi (Brittany O’Grady), a budding musician who shares his apartment and his frustrations. Their interactions, often tinged with resentment, provide a generational counterpoint to the central narrative, reminding us that communication breakdowns aren’t exclusive to older generations.

The performances are uniformly excellent. Sedgwick gives Cynthia layers that go beyond the familiar trope of the midlife woman yearning for more. She’s intelligent, composed, and, importantly, flawed. Her decisions—to confide in Stan, to blur boundaries with a patient—aren’t always admirable, but they feel real. Bacon, too, does some of his best work in years, portraying Stan not as a pathetic sad sack, but as a man trying—however clumsily—to evolve. He’s funny, self-deprecating, occasionally inappropriate, and ultimately endearing. Their chemistry doesn’t ignite in a grand romantic blaze; instead, it simmers with mutual recognition and shared weariness, and that makes it all the more satisfying.

Judd Hirsch offers a quietly devastating performance as Walter, a man barely holding onto the threads of his identity. In one standout scene, he attempts to reclaim his past glory by discussing Watergate with a young writer, only to fumble and fall silent. It’s a heartbreaking reminder of how memory can betray even our most defining moments. And in a brief but memorable cameo, Ray Romano lends his trademark comic timing as a Zoom doctor colleague, delivering levity without distraction.

Visually, The Best You Can adopts a muted aesthetic. Cinematographer Alar Kivilo’s soft lighting and restrained composition serve the story well, mirroring the emotional palette of its characters. The score is minimal, allowing silences to speak volumes, and Weithorn’s direction, informed by his years in television, finds its rhythm in dialogue and performance rather than flashy visuals or heightened drama. This isn't prestige indie fare trying to be edgy or hip—it’s comfortable in its modest ambitions.

That modesty, however, is its strength. In an era dominated by spectacle, The Best You Can is refreshingly understated. It doesn’t try to reinvent the genre or dazzle with narrative twists (though there are a few smart turns); it simply tells a good story well. And while the film occasionally leans into predictable territory—especially during its second act, where certain plot developments unfold a bit too conveniently—it never loses its emotional integrity.

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At its heart, The Best You Can is about reconciling who we are with who we thought we’d become. It's a love story, yes, but one grounded in the realities of physical decay, professional disillusionment, and emotional fatigue. It’s a film that understands the pain of letting go, the difficulty of holding on, and the complicated beauty of trying again anyway.

With pitch-perfect performances, a gently observant script, and a refreshingly honest take on middle-to-late-life reinvention, The Best You Can isn’t just a comeback for Bacon and Sedgwick—it’s a quiet, poignant reminder that it’s never too late to rewrite the story.