Tag Archives: Family

The Meyerowitz Stories (New and Selected) (2017)

19 Sunday Nov 2017

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D: Noah Baumbach / 112m

Cast: Adam Sandler, Ben Stiller, Dustin Hoffman, Emma Thompson, Elizabeth Marvel, Grace Van Patten, Judd Hirsch, Rebecca Miller, Candice Bergen, Adam Driver, Matthew Shear, Sakina Jaffrey, Gayle Rankin, Michael Chernus

Harold Meyerowitz (Hoffman) is a semi-famous sculptor who hasn’t had a show in years, and who has become somewhat marginalised within the New York art world. His work is admired by those that know of it, but his contemporaries, such as L.J. Shapiro (Hirsch), are still exhibiting and still getting the recognition that Harold thinks they don’t deserve. Harold is on his fourth marriage – to Maureen (Thompson) – and has two children from his first, Danny (Sandler) and Jean (Marvel). Danny is in the midst of separating from his wife, and has a precocious teenage daughter, Eliza (Van Patten), who is about to leave for college. Jean is a spinster but leads an otherwise happy life. Harold has another child from his third marriage, Matthew (Stiller), but he lives in LA, and works as a financial consultant. He’s successful, and has a young son he would like to spend more time with. This is the family Meyerowitz, and despite outward appearances, many of which they foster themselves, they all need help (oh boy, do they need help).

What’s impressive about Noah Baumbach’s latest feature is that he takes a stereotypical dysfunctional family, and spins that stereotype ever so slightly off its axis, so that each nugget of information about any of the characters seems fresh and unexpected, even though a closer inspection reveals tropes and metaphors that we’ve seen countless times before. This is due to Baumbach’s very eloquent and very astute screenplay, a piece of writing that manages to include a number of complex and yet succinct observations on the nature of father-son relationships and the effect that an inwardly scared parent can have on their children. It’s no surprise that Baumbach has chosen to examine the issue of what children need from their parents as this has formed the basis of much of his work in the past, from The Squid and the Whale (2005) to While We’re Young (2014). But this is easily his most impressive and most fully realised project, and it has a smoothness and an ease about it that makes it all the more enjoyable to watch.

The main focus is, at first, on Danny. With his marriage coming to an end and Eliza going off to college, Danny has to reassess what he’s going to do with his life (he’s been a house husband up until now, having chosen that as his “career” instead of being a musician). He and Jean get involved in arranging a retrospective of Harold’s career, but Baumbach is quick to make the viewer realise that this isn’t being done out of love or affection, and not even necessarily out of respect for their father’s work. Like so many other things connected to Harold that they do, it’s done because they view it as the right thing to do; it’s a familial obligation. But Harold is obsessed with how his work is perceived, because his work is the only thing that, to him, makes him stand out from the crowd. He’s constantly seeking approbation from everyone around him, and insists he receives it from his kids. But if they don’t, then he’s oblivious to both them and their needs. Such is their lives as adults, such was their lives as children.

Harold’s narcissistic expressions about himself, and his short-fuse dismissal of anyone he deems unimportant, has had an unpleasant effect on all three of his children. Danny has spent an enormous amount of time and energy in raising Eliza so that they’re more like friends instead of father and daughter. As a result he’s a better father than Harold was to him, but the irony is that in its own way, it’s as unhealthy as the relationship Danny had with him as a child. Baumbach makes the point well: too little attention or love can be just as bad as too much. But while that may seem obvious (and it is), it’s the way in which Danny tries to strike a balance between the two, and without necessarily being aware that he’s doing it, that makes all the difference. Jean has her own reasons for keeping her life separate, and though it seems that she’s perhaps the most “adjusted” of the three, this later proves to be incorrect. And then there’s Matthew, who professes to be “over” his father’s ability to make him angry for having a successful life (Harold is almost as obsessed by money as he is by maintaining his reputation). Matthew, like Danny, is trying to be a better father than Harold was, but he can’t seem to connect with his son, despite his best efforts.

Watching these four people struggle to communicate with each other, and struggle to find the answers that are often in front of them, should be frustrating for the viewer,  but Baumbach, and the sharpness of his script, helps avoid all that. The family dynamic is entirely credible and perfectly judged, with superb performances from all concerned. Sandler has only been better once before, in Punch-Drunk Love (2002), and here he proves that he can be a fine dramatic actor when he wants to be (which isn’t often enough). Sandler displays a warmth and a heartfelt sincerity as Danny that allows the viewer a way in to the Meyerowitz family and its myriad issues. He’s a sweet, caring guy trying to do his best, and he has enough self-awareness to know that he doesn’t always get it right. Stiller is equally as good, channelling Matthew’s anger at being unfairly singled out for Harold’s praise as a child when the praise, and what it related to, wasn’t important to Matthew at all. In support, Marvel, Thompson and Van Patten offer touching performances, while there are a clutch of more minor roles that allow for a few scene-stealing moments (Chernus as a snippy nurse is a treat). But this, perhaps expectedly, is Hoffman’s movie, his portrayal of Harold as a manipulative, emotionally remote artist one of the best things he’s done in years.

Baumbach approaches the material and the characters with a great deal of care and attention, and it’s this that makes the movie so effortlessly dramatic, and so effortlessly funny. Nobody behaves in a manner that might seem odd or inappropriate because that’s how they’ve always behaved. With some questions there’s an answer provided, but many’s the time when Baumbach keeps the viewer in the dark, as if to say, “these characters still need time to figure things out, and it’s not going to happen before the movie’s over”. It all adds up to a remarkably humane and sympathetic look at expectations between the generations, and how personal legacies can hamper the growth of those who are raised in the shadow of them. Thoughtful and considerate of its characters’ foibles and muted aspirations, Baumbach’s latest is a sprightly mix of drama and comedy that succeeds on both fronts, and is his best work yet.

Rating: 9/10 – that rarity: a comedy-drama with heart as well as intelligence, The Meyerowitz Stories (New and Selected) is a cautionary tale that never once feels forced or that it’s struggling to find its own voice; the characters linger in the memory, along with Baumbach’s clever script and fluid direction, and a number of quality performances, making this a movie that everyone should try and see, and especially as an alternative to more mainstream, big-budget moviemaking.

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The Hollars (2016)

08 Wednesday Mar 2017

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D: John Krasinski / 89m

Cast: John Krasinski, Richard Jenkins, Sharlto Copley, Margo Martindale, Anna Kendrick, Charlie Day, Josh Groban, Randall Park, Ashley Dyke, Mary Elizabeth Winstead, Mary Kay Place

Dysfunctional families – where would indie movie makers be without them? A staple of indie movie making, the dysfunctional family has provided us with some great movies over the years, from The Royal Tenenbaums (2001) to Little Miss Sunshine (2006) to August: Osage County (2013). Now it’s John Krasinski’s turn to shine a light on a family for whom “normal behaviour” isn’t exactly customary practice.

Krasinski plays John Hollar, a struggling graphic artist whose self-confidence is almost exhausted. As if that wasn’t enough, his girlfriend, Rebecca (Kendrick), is expecting their baby. Feeling the pressure from both sides, things get even more stressful for him when he learns that his mother, Sally (Martindale), is in the hospital and needs an operation to remove a brain tumour. Returning to his hometown after several years away, John reconnects with his father, Don (Jenkins), and his older brother, Ron (Copley). With a few days to go before the operation, John comes face to face with the problems and issues that occupy his family members’ time. Ron is screwing up his divorce from Stacey (Dyke) by spying on her and her new partner, Reverend Dan (Groban), as well as acting inappropriately in order to spend time with his two daughters. Meanwhile, Don’s plumbing business is on the brink of going under.

Adding to John’s worries is one of his mother’s nurses, an old high school classmate called Jason (Day) who has married John’s old girlfriend Gwen (Winstead). At first, Jason is concerned that John is going to try and sleep with Gwen while he’s back. John reassures him that he won’t, and receives an invitation to dinner. But though his intentions are honourable, Gwen’s aren’t and he has to rebuff her advances. Wanting to be open and honest about the encounter, he tells Rebecca about it, but in such a clumsy way that she becomes worried and travels to his hometown to be with him. Once there, she reveals a few truths that John has been avoiding admitting, while he too reveals a truth that she has been unaware of. Meanwhile, Ron finds an unlikely supporter in Reverend Dan, Don takes a job at a wine store to bolster his business’s finances, and soon, the day of Sally’s operation is at hand.

Krasinski has said that the one-liner for The Hollars is something that we’ve heard before: a guy goes home to his family and finds out about himself. And he’s spot on. But while it’s true that it’s a theme that’s been done several times before, and that the movie doesn’t really offer us anything new in terms of characterisation or the narrative, what the movie does do is to introduce us to a new, disparate bunch of people who are all trying to deal with their own individual problems, while also trying to support each other as best they can. But that’s the basis of any movie about a dysfunctional family. The question to ask is: within its own terms and its own ambitions, does The Hollars work?

Inevitably, the answer is yes and no. There is much to recommend The Hollars, and Krasinski plays to the strengths of Jim Strouse’s screenplay at every opportunity. The characters are well-drawn, and the interaction between them is sympathetic and knowing, allowing the cast to display each character’s vulnerabilities and strengths to good effect. From Krasinski’s self-doubting, slightly adrift John to Copley’s manic, short-sighted Ron, from Jenkins’ overly emotional, self-deluding Don to Martindale’s anxious yet eternally supportive Sally, and Kendrick’s mostly confident, comforting Rebecca, the movie is populated by characters who are easily recognisable and a pleasure to spend time with. Strouse keeps the various inter-relationships on the simple side, with few complications to upset or muddy the waters. This allows the viewer to engage with them more easily, and though this also leads to a feeling of unnecessary mawkishness that develops as the movie goes on, Krasinski’s skill as a director ensures it doesn’t overwhelm the material as a whole.

Krasinski is helped by a clutch of great performances, and he exploits each member of his talented cast in justifiable fashion. Jenkins does bewildered to very good effect, making Don seem as if he’s barely in the room. Copley’s take on Ron is to mix a committed father with an ADD sufferer, and he provides a good deal of the movie’s easy humour. Kendrick tenders another slight variation on the type of character that she always plays in this kind of thing, but Rebecca is very much a supporting role whose job it is to show John the way forward when he needs it. Krasinski slips easily into the central role, and plays the gauche, somewhat perplexed John with a good deal of charm. But if anyone stands out from the ensemble cast then it’s Martindale, who once again, reaffirms her status as one of the best character actors currently working in movies. As the affable, good-natured Sally, Martindale gives a delicate, thoughtful performance that is entirely natural and heartfelt.

But while the performances are the movie’s main draw, some of the subplots fail to take hold in – perhaps – the way they were meant to. Ron’s often childish behaviour, particularly in the presence of Reverend Dan, is a little over-the-top and far from credible, even for a character who appears, for the most part, to be a man-child. And Don’s business problems, which at first seem like they’re going to have a lasting impact on the family as a whole, waste a whole scene where he’s refused credit, only for a solution to come along that fails to address the issue of depleted funds entirely. The inclusion of John’s ex-girlfriend, Gwen, has even less impact, as beyond the dinner scenes, she doesn’t reappear, leaving the viewer to wonder if she was meant to have an effect on John’s life in some way. But if that’s so, then it seems it was either left out at one of the draft stages, or on the cutting room floor. These failings help to make the movie feel uneven at times, and there’s a definite sense that more time would have been needed to address them properly.

Overall, Strouse’s screenplay and Krasinski’s direction combine to make The Hollars an enjoyable comedy with serious moments, and a poignant drama with humorous stretches. A lot of it is predictable, but that’s not a bad thing as this is one of those occasions where familiarity breeds fondness and uncomplicated indulgence instead of contempt. With a suitably indie soundtrack made up of original songs by Josh Ritter, and a winning, relaxed feel to proceedings, The Hollars provides viewers with an offbeat, captivating experience that adds up to a warm-hearted, generous good time for anyone that seeks it out.

Rating: 7/10 – genial and obliging, The Hollars doesn’t waste a second in its attempts to get you to like it, and once you do, you can forgive it when the material stumbles over itself from time to time; buoyed by a great ensemble cast, and a good sense of its own strengths and weaknesses, it tells its story succinctly and without any undue fuss – and that’s not always when there’s a dysfunctional family involved.

Life, Animated (2016)

19 Monday Dec 2016

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D: Roger Ross Williams / 89m

With: Owen Suskind, Ron Suskind, Cornelia Suskind, Walter Suskind, Jonathan Freeman, Gilbert Gottfried

In Roger Ross Williams’ moving documentary, Life, Animated, we are introduced to Owen Suskind, a twenty-three year old on the verge of graduating from school and moving into his first apartment. There’s nothing special about that you might think, but for Owen it’s all an incredible achievement, because when he was three years old, Owen went from being an outgoing, happy child to a withdrawn, non-communicative autistic child. It happened virtually overnight, without any warning. But in one, very big way, Owen was fortunate. He had the love of his family: his father, Ron; his mother, Cornelia; and his older brother, Walter. After the initial shock of seeing Owen so unalterably changed, they all rallied round him and did their utmost to make his life as comfortable and as rewarding as possible. They simply never gave up hoping that Owen, somehow, would come back to them.

They had to wait four years, though, for the first sign that Owen wasn’t stranded in his own mind. A single line of dialogue from Disney’s The Little Mermaid – “Just your voice” – was said by Owen at a moment when that particular phrase related to what was happening in the Suskind home. The family began to realise that Owen could relate to what was going on around him by referencing dialogue from Disney movies. What they learned was astounding: Owen hadn’t just memorised certain lines of dialogue from Disney’s animated movies, he’d memorised all the dialogue from Disney’s animated movies. And later, Owen correctly deduced that Walter didn’t want to grow up like Peter Pan or Mowgli from The Jungle Book. By expressing such an emotionally complex idea, and at still a very young age, the Suskinds became convinced that they could communicate further with Owen, and using Disney movies, connect with him on a level they couldn’t have predicted before then.

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Fast forward fifteen years and Owen is a (largely) well-adjusted young man on the cusp of leading an independent, adult life, away from his family and on the verge of getting his first job. And he has a girlfriend, Emily (who’s also autistic). He still spends a lot of time re-watching Disney movies, but now he’s better able to make sense of the “real world” thanks to the life lessons that Disney includes in its releases (on his first night alone in his apartment he watches Bambi – the one time the correlation seems forced, even though there isn’t another movie that would fit the circumstance). But even though things are going well for him, Life – animated or otherwise – still has the ability to add to the challenges he already faces…

What makes Life, Animated such an appealing viewing experience is, in part, its refusal to push an agenda. Where the majority of documentaries want you to take sides on whatever issue they’re focusing on, here it’s a different matter entirely. The story of Owen Suskind is an unforeseen triumph against the odds, and Williams is canny enough to show the before, the during and the after of Owen’s descent into autism. He also gives plenty of time to Owen’s family, to show how they felt and how they adapted during the years Owen was growing up. You get a clear sense both of how difficult it was for them, but also how tight-knit and committed they all were, to each other, and to Owen. Just in case anyone might be thinking that Disney are getting all the credit for Owen’s “recovery”, then guess again; his very dedicated family must take most, if not all, of the credit.

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Williams tells the story of the Suskinds using a mixture of home movie footage – seeing Owen in his pre-autism years is particularly evocative, but is then trumped by a shot of him standing, just staring into space – talking heads recollections, and traditional hand-drawn animation courtesy of French outfit Mac Guff. It’s this last element that adds a huge degree of charm to a movie already in danger of charming its audience to death, but if that seems like a negative, then guess again. Charm is something the movie has in abundance, and the animated sequences act as further examples of the movie’s ability to bewitch and enchant, and tell the story in ways that talking about Owen and his journey just won’t do.

It’s through these sequences that we learn that Owen is an aspiring writer, with his tale of a hero whose job it is to keep Disney sidekicks such as Jiminy Cricket safe from harm. Mac Guff do a great job of expressing this tale, and also of replicating the world as Owen sees it himself. It’s easy to understand why Owen identifies so much with Disney’s sidekick characters, as he himself has always felt like someone on the outside, not the main hero. It’s interesting, also, that this is how Owen sees himself, as someone who needs to protect others, and the movie draws all this out thanks to some candid on-camera moments by Owen and by his quoting from his original story. From this also, we get a glimpse of just how vocal he is when challenged or cornered, and it all gets too much for him.

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While Owen seems inordinately happy, there are plenty of moments where the audience is reminded that he’s really a “big kid” without all the manners or insights that go with being an adult. His relationship with Emily doesn’t go according to the Disney plan, which leaves him adrift, and there’s a wonderful moment where Walter laments the fact that Disney don’t “do sex”, something that would make certain things a lot easier to deal with if they did. There are references too to his time at school, and the bullying he experienced, as well as the dark days that shrouded that period, but again it’s the love and support from his selfless family that saw him through it all, and to a point now where he can travel to France to address a symposium on autism (and make his opening remarks in French).

While Owen’s remarkable comeback from a kind of catatonic autism is entirely worthy of Williams’ attention (not to mention the Disney movie club he runs, and which has two very special guests at one of the meetings), what really makes this documentary special is the love and care and determination of Owen’s family to ensure he has the best life possible that makes this such a moving and often incredibly profound movie. Ron, Cornelia and Walter all deserve the highest praise for how they tackled the issue of their son’s sudden onset of autism, and the moments where their love for him, and their commitment to him, shine through with an emotional honesty that can’t help but bring a tear – or two, or more – to the eye of the unwary viewer.

Rating: 9/10 – with Disney waiving any editorial control over the footage used in the movie, Life, Animated benefits immeasurably from Williams’ considered and astute use of the various storytelling formats used to tell Owen’s miraculous tale; a terrific achievement, and one that highlights the strengths in play within the Suskind family, this is immensely enjoyable, and a movie that makes the term “feelgood” seem hopelessly inadequate in describing the effect it can have on the viewer.

Mini-Review: The Good Dinosaur (2015)

26 Saturday Dec 2015

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The Good Dinosaur

D: Peter Sohn / 93m

Cast: Raymond Ochoa, Jack Bright, Jeffrey Wright, Frances McDormand, Steve Zahn, Sam Elliott, Anna Paquin, A.J. Buckley, Jack McGraw

Anyone going to see The Good Dinosaur should know a couple of things before they do. One: if you’re expecting a movie as enjoyable and as creative as Inside Out was earlier this year, then you’re going to be disappointed. And two: you’ll be surprised at how bland and pedestrian it all is.

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Getting that out of the way at the beginning of this review makes it easier to write the following: Pixar should have let this one die in development. The movie has had a troubled history. Original director Bob Peterson was removed from the movie in 2013 because he couldn’t come up with a final, third act. All of the cast, with the exception of McDormand, were replaced, large chunks of the script were re-written, and the movie was re-scheduled for release two years after its original, planned release date (27 November 2013). All in all, it feels very much as if, having sunk an awful lot of money into the production, Pixar had a choice: write off the project entirely and take a large financial hit, or carry on in the hope that the finished product will be good enough to earn back its costs.

Obviously they chose the latter, but it was the wrong decision. The Good Dinosaur is a movie that any other animation company could have made, and that’s not what we should be saying about a Pixar movie. It may be unfair, but Pixar is synonymous with animation excellence, both in terms of the visuals and the stories. And while The Good Dinosaur contains some of the most photo-realistic animation ever, when it comes to the story, it becomes clear that it wasn’t only the third act that had problems. Once the basic premise is done with – meteor that wipes out the dinosaurs 65 million years ago misses the earth, leaving dinosaurs to evolve further – the movie doesn’t know if it wants to be the new The Land Before Time (1988), an out-and-out Western, or a distant narrative cousin to The Lion King (1994). And it doesn’t help that against all the beautifully rendered backdrops, we have an apatosaurus whose animation looks like it was sub-contracted out to Aardman (it’s Arlo’s eyes – take a look at Chicken Run (2000) and you’ll see what I mean).

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But whichever story it’s trying to tell, it’s not strong enough to hold the audience’s attention, and scenes pass by that provoke ennui instead of engagement. Even the relationship between Arlo and Spot, normally something you could rely on Pixar to make affecting and charming, proves merely sufficient to the story’s needs, and the “inventiveness” of having Spot being the “pet” wears off pretty quickly. With the movie’s two lead characters lacking a way to connect with the audience, it further hinders the movie’s attempts to make itself a satisfying experience for the viewer.

The movie also has problems with its tone, as it mixes humorous elements with moments of terrible heartbreak, and there’s an unexpected sequence where Arlo and Spot get stoned. The introduction of friendly T-Rexes is a bit of a stretch, and leads to a campfire scene where you wonder if an homage to Blazing Saddles (1974) is on the cards (The Good Dinosaur has lots of these moments, ones that remind you of other, better movies). It all goes to reinforce the idea that Pixar have released their latest movie in the hopes that it’ll recoup its costs before anyone notices how disappointing it is.

Rating: 5/10 – saved from a lower score by the incredible visuals, which elevate the material just by being there, The Good Dinosaur is yet another unfortunate example of Pixar having (mostly) lost their way in recent years; even the talented voice cast can’t do much to improve things, and potential viewers will be better off waiting until Finding Dory (2016) is released for their next Pixar fix.

See You in Valhalla (2015)

15 Friday May 2015

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See You in Valhalla

D: Jarret Tarnol / 82m

Cast: Sarah Hyland, Michael Weston, Bret Harrison, Steve Howey, Conor O’Farrell, Alex Frost, Emma Bell, Odeya Rush, Beau Mirchoff, Allie Gonino, Jake McDorman

Following the unexpected (and quite bizarre) death of their brother Max (McDorman), remaining siblings Johana (Hyland), Don (Weston), and Barry (Harrison) all return to their estranged father’s home for the funeral. With all his children having left the family home after their mother’s death some years before, Woody (O’Farrell) sees this as an opportunity to reconcile with them, and to reunite as a family.

Johana brings along Peter (Frost), whom she’s just started dating. Don brings his daughter, Ashley, while Barry brings his boyfriend, Makewi (Howey). They find their father has a live-in nurse, Faye (Bell), who is very much into a new age lifestyle, and who seems to have made Woody’s life more bearable (he walks with a cane and is in generally poor health). But tensions run high from the first day they’re all together, and long-held resentments begin to make themselves felt. Johana has unfinished business with an old flame, Johnny (Mirchoff), and is tortured by regrets over the abortion she had when she was much younger. Don blames his father for not being there for all of them when their mother died, and refuses to let go of the anger he feels about it. Barry has lost a lot of weight and works as a therapist; Makewi was a patient of his. Woody does his best but his children fight amongst themselves and show no sign of putting their differences behind them.

Johana’s budding relationship with Peter is put in jeopardy by her conflicted need to see Johnny. When she finally does he seems ready to rekindle their old romance, but an unpleasant discovery forces Johana to reassess her feelings both for Johnny and for Peter. Meanwhile, a play fight between Don and Barry turns nasty and leads to Don making a homophobic remark. Threatened by Makewi if he says the same thing again, and intending to leave there and then, Don is confronted by Woody, who tries to settle things between them once and for all. But all it does is bring on a stroke. In the hospital, all three of Woody’s children begin to realise just how much they’re in danger of losing by remaining at odds with each other. And then, Makewi has an idea for Max’s funeral that finally unites them as a family…

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Watching See You in Valhalla, it’s hard to work out if the Tarnol brothers – director Jarret and scripter Brent – have made their characters deliberately unlikeable or not. All three are so weighed down by the various slights and disappointments of their earlier lives, that these slights and disappointments have come to define them as individuals. Johana is haunted by the decision she made at sixteen and seeks some form of closure by seeing Johnny. Don has allowed his anger to turn him into a hurtful malcontent, foisting his own unhappiness on others, and turning his daughter into a carbon copy of himself. Barry’s feelings of inadequacy from the bullying he endured at school due to being overweight have never really left him, and he’s sensitive to criticism of his work and the provenance of his relationship with Makewi. And Max is shown finding a way out from his addictions through love (and a passion for Vikings), but falling back into old habits when his girlfriend suddenly dies.

But while a knee-jerk reaction to all this angst might be to say, “Oh for God’s sake, just get over yourselves!”, it’s thanks to some astute performances that the viewer is dissuaded from doing so (though it has to be said there are some moments where that temptation is really strong). We’ve seen this type of movie too many times before for the whole dysfunctional-family-learning-to-get-along scenario to appear fresh and engaging, and yet even though Brent Tarpol’s script strays too often into areas of predictability and familiarity, there’s just enough going on to keep the viewer interested in seeing where the movie goes next. The obvious antecedent here is The Big Chill (1983), but where that looked at its characters’ lives and relationships in depth, See You in Valhalla makes only a cursory attempt at making Johanna et al interesting or sympathetic, leaving the viewer largely unconcerned as to whether or not they’ll overcome their differences.

And yet, while the script lurches from one underwhelming emotional confrontation to another, the cast continually pick up the slack and keep things moving forward, doing their best to weed out nuances and thoughtful assertions about their characters and their past histories. Hyland is terrific as a young woman beset by inner demons, eschewing an easy vulnerability for a raw sense of personal transgression. The scene where Johana confesses to Peter her reasons for leaving home is skilfully played by Hyland, and her indecisiveness over Johnny will speak to anyone who’s had regrets over a past relationship and what might have happened if things had been different. Weston does equally as well as Don, taking a stereotypically angry character and showing the need for acknowledgment beneath the irate behaviour. Elsewhere, Howey steals the movie with his flamboyant turn as Makewi, adding some much needed humour to the mix and giving the movie a bump just when it needs it.

If Jarret Tarnol had been stricter with the vagaries of his brother’s script then See You in Valhalla might have been a more polished and engrossing movie. As it is, it suffers from moments of contrivance that threaten to overturn the movie completely in its first half, but the script rallies in the second half and there’s a greater sense that these characters can put aside their differences in order to support their father, and each other. With this in place, the movie ends on a satisfying note that looked doubtful at the beginning. Again, it’s thanks to a cast that takes the material and works wonders with it, giving a sometimes fresh but knowing spin on such tried and tested tropes.

Rating: 6/10 – bolstered by an infectious indie score (mostly) by 10K Dragons, See You in Valhalla takes too long to become effective, but when it does it’s truly rewarding viewing; rescued from the doldrums by its cast, the movie works best when allowing its quirkier characters free rein, and by allowing much of the movie to be filmed in an unfussy, observational style.