“Anniversary” travels a pretty crazy path. It begins as a domestic thriller before flirting with becoming a psychological thriller and ultimately ending as something resembling a dystopian thriller. It’s a movie filled to the brim with clever ideas, some of which sizzle with intrigue and tension while others have a hard time connecting to everything else we see. Ultimately, I love that “Anniversary” takes some wild swings, even if it doesn’t hit everything it swings at.

“Anniversary” comes from director Jan Komasa who’s working from a screenplay written by Lori Rosene-Gambino. The film sports a terrific ensemble that features Diane Lane, Kyle Chandler, Zoey Deutch, Phoebe Dynevor, Dylan O’Brien, McKenna Grace, Madeline Brewer, and Daryl McCormack. All play characters caught up in a whirlwind of family dysfunction. Some stems from buried issues from their pasts. But most come with the introduction of a new person into their lives.

The movie opens with the Taylor family gathering to celebrate the 25th wedding anniversary of Ellen (Lane), a Georgetown University professor, and Paul (Chandler), a restaurant owner. Joining the honored couple are their children, Cynthia (Deutch), a stuffy environmental lawyer who brought her disillusioned husband Rob (McCormack), Anna (Brewer), a provocative stand-up comedian, Josh (O’Brien), a smarmy and angsty struggling writer, and their geeky science-loving youngest, Birdie (Grace).

But it’s an outsider brought into their fold who swiftly turns things upside down. Accompanying Josh is his new girlfriend Liz (Dynevor). Josh is smitten with Liz and from all indications she feels the same way about him. But Liz is nervous about meeting his family. We see why once Josh introduces her to his mother. It turns out Ellen and Liz have some bad history dating back to an incident at the University. The sheepish yet cryptic Liz says it’s all behind them while a skeptical and cautious Ellen believes it’s no coincidence that Liz has attached herself to her son.

This first segment sees Komasa planting several narrative seeds as he sets up this complicated family dynamic. From there he jumps ahead eight years, and then two years, and so on. At each stop on the timeline we revisit the Taylors and witness another phase of their deterioration. Ellen’s frustrations with Liz festers, Cynthia battles depression as her relationship with Rob sours. Anna has a violent encounter at one of her shows. And the observant Birdie quietly soaks it all in.

But what about Josh and Liz? The couple marry and soon have twins. Later, Liz writes a controversial book called “The Change” which becomes a cultural phenomenon. The radically political manifesto sells over 10 million copies, making Liz and Josh a wealthy and powerful couple. The success of Liz’s book not only tightens the tension within the Taylor household. It lays the groundwork for an authoritarian dystopia which ends up affecting the story in ways we never see coming.

From the very start there’s no denying the movie’s mammoth ambition. It’s melding of domestic and sociopolitical chaos is bold, but it’s a bit too much for it to handle. Still, the steady screw-tightening creates the kind of ever-intensifying, anxiety-riddled drama that keeps you glued to every harsh word and hateful stare. Meanwhile Komasa opens up a wealth of themes which he examines with the subtlety of a sledgehammer. He doesn’t hide his provocative prodding or his blunt-force messaging which overall works for and against his film.

As the film zips from point to point, certain family troubles escalate too quickly and without much explanation. Others feel oddly disconnected from the bigger story. But Komasa steadily propels his story forward, leaving us with little time to dwell on the negatives. He also lets his cast go for the jugular leading to some savory performances. Lane gets one of her meatiest roles in years. Chandler is a stabilizing force. O’Brien exudes detestability. Dynevor is a mystery who never tips her hand. They are all crucial ingredients that make this enthralling, swing-for-the-fences effort work.

VERDICT – 3 STARS