First, I'd like to note that the line to get into this movie was huge. Part of this was surely French movie theaters insistence on not letting anyone into a movie more than a few minutes before, but the theater was almost full. This film only had a limited release in the US, which means that it probably didn't show anywhere in my home town and got a week or two in the little indie theater in Lawrence(God bless 'em). This movie nearly filled a theater on a movie premier day with plenty of other things going on. That's kind of cool.
Beyond that, I was happy in general to find this movie a little more plot-driven than Jeff Nichols' last film, Take Shelter, not because I prefer that (I clearly do not), but because it's good to see indie filmmakers with the ability to produce a balanced oeuvre. This movie is practically a thriller. It isn't quite as full of twists and turns as the trailer would have us believe, but it tells a complex and fulfilling story about someone really growing up. Let's break it down.
For wit, I gave it a 9. I went up and down on this, but I stuck with a 9 because of comparisons with Jaws and Punch Drunk Love, both of which I watched last weekend, and I recognized less points where I felt like things were said so well I was taken aback. Less, not none. Comparing Vincent Cassel in Mesrine or Joaquin Phoenix in The Master with Matthew McConaughey in anything seems unfair. Not that Matthew is disappointing. He is at the awesome height of surprising quality that I got when he first appeared on Eastbound and Down. This will be the last time I underestimate him. He demands sympathy for his character and a certain fellow-feeling. You know that he isn't totally on the up-and-up, but you absolutely feel his pain.
Reese Witherspoon is even a bit surprising, but I attribute that mostly to the writing. The story flows with an ease that I remarked about in Jaws. It is all-encompassing. When you are watching it, it is reality. All credit not given to the engrossing screenwriter goes to the two young actors who drove the film from beginning to end: Tye Sheridan as Ellis and Jacob Lofland as Neckbone. Their natural chemistry, helping someone like me, who hasn't talked to his childhood best friend much recently, a real reminder of what it is to not remember not knowing someone and to trust them implicitly and to really defy any attempt to create hierarchy between you. Neither one has a long history in acting, but Tye's credit in a Terrence Malick film is nothing to scoff at. His performance is as layered as it can be in a clear bildungsfilm.
Sarah Paulson and Ray McKinnon played his parents and both had their moments without standing out. Sam Shepard was great, but his best moment was in being clearly upstaged by Tye. The only other character who did much for me was Michael Shannon as Galen, Neck's uncle. He has his one or two scenes where he clearly is the point of attraction. Early on, in his first appearance, just after we've been told he's 'doing it,' he follows a young lady out apologetically explaining, "Some people are okay with that kind of thing in the bedroom. Now we know you're not, I'll keep that in mind." Later, he brings his character around from the irresponsible uncle/guardian when he warns Ellis not to "get Neck in any trouble (he) can't get him out of." Michael absolutely nails it, giving the most nuanced adult performance.
Enough said about wit, I turn to wisdom, which was a 9.5. I had to give this a good bit of thought. It seemed clearly above Moonrise Kingdom which I gave a 9.5, because it doesn't have that obvious glaring defect. The ideas are clearly said, though not simply told. We learn that those we love sometimes fail us but that doesn't mean Love has failed us. We learn that all actions, whether they be seeking revenge (no matter where in the chain you may fall) or infidelity, have consequences, sometimes dire ones. But we also learn that sometimes things turn out for the best because of our most selfless acts. All these seem good to me, even unassailable, but they simply weren't enough to put this film in the class of Mr. Smith Goes to Washington or Nice Guy Johnny, which I gave 10's.
The last is wonder and I gave it a 9.5 for its portrayal of the swampy rivery wilderness of Arkansas. It gave it the romanticism it deserves and gave some great shots of moving down the river. The music was good too, if unobtrusive. Not least the somewhat ironic use of "Help Me, Rhonda" for the closing credits. There was some obnoxious over-cutting between various figures during dramatic dialogue. I prefer staying with one character until there's a break in the dialogue. I can settle for not seeing the character talking if the other character's reaction is more interesting. It just felt nervous about missing something.
If there is a theater near you showing this, I would suggest it. There's nothing approaching a sex scene and though some people get shot, it's pretty tame. Neck can't stop talking about "titties," but it's nearly endearing by the end. Enjoyez!
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