There isn’t a single truly likeable character in Noah Baumbach’s Margot at the Wedding, and there are quite a few that are downright intolerable. It’s an issue that Baumbach, in his follow-up to 2005’s The Squid and the Whale, never completely finds a way to overcome, as the wholesale unpleasantness of most every self-absorbed East Coast intellectual involved in this Rohmer-ian talkfest frustrates attempts to tolerate, let alone empathize with, their myriad dysfunctions. Nonetheless, the odiousness of his protagonists – writer Margot (Nicole Kidman), who having just left her husband, shows up with son Claude (Zane Pais) at sister Pauline’s (Jennifer Jason Leigh) wedding to schlub Malcolm (Jack Black) at their old Hamptons family home – isn’t as problematic a factor as is the redundancy (and occasional mean-spiritedness) of his psychological portraits, which are rooted in tangled issues of class, sex, exploitation and honesty. Baumbach’s depiction of these deeply fucked-up people has a consistency that’s admirable, the writer/director never betraying their essential nature. However, their unhealthy patterns of behavior – specifically, those displayed by Margot and Pauline, who want to be close yet share a deep, bitter resentment for each other, as well as between Margot and Claude, with the former simultaneously clinging tightly to, and denigrating as mean and vindictive, the latter – don’t progress so much as repeat in increasingly monotonous ways. Repellent roles aside, Kidman and Leigh are both superb, and Black, embodying an intentionally humorous doofus who’s clearly meant to offset the negativity of those around him, exhibits a reasonably subtle touch. Out of place, though, is the unwarranted nastiness sporadically directed by the filmmaker at Margot and Pauline – such as a public speaking humiliation that culminates with a gratuitous shot of Margot tripping, or Pauline crapping her pants – that eventually calls into question whether Baumbach is interested in examining his characters or just demeaning them.