” is the kind of movie you’d expect to be based on a stage play, because it is so entirely driven by well-honed dialogue arguing social issues from nicely detailed if schematically conceived character viewpoints — like something by Donald Margulies, Rebecca Gilman or the pseudononymous Jane Martin. That writer-director’s debut feature is a screen original surprises, not because it’s “stagy” , but because its engagingly argumentative virtues aren’t typical for movies anymore, if they ever were.
Bubbly Brooklynite Jess is still young enough for her inability to commit in various relationships to seem formative and questing, rather than a serious character flaw. She works as the IT person at a worthy nonprofit, yet often has to apologize to her boss for the results of scattered personal focus. She’s seeing the patient, flexible, enamored Nate on and off, but fends off even steady-dating status, let alone his marriage proposals.
Though at times the articulacy with which its characters debate issues — from “choice” to social privilege to the dread specter of eugenics — borders on didacticism, “The Surrogate” is too dramatically savvy to fall off that cliff. There’s a welcome complexity to the relationship and individuals here that makes them relatable, with some useful gaps left for our imaginations to fill in.
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