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Monday, 07 December 2020 16:51

The beat goes off – ‘Sound of Metal’

What happens to us when circumstances leave us unable to do the thing that we believe defines us? How can we recover from such a loss – particularly when that loss seemingly destroys the foundation on which the rest of our identity is built?

That question serves as the central concept in “Sound of Metal,” a new film currently streaming on Amazon Prime Video. Written and directed by Darius Marder, it’s the story of a heavy metal drummer who must deal with an unexpected and rapid deterioration of his hearing, a devastating blow that pushes the former addict toward a potential relapse.

It’s a powerful exploration of what it means to lose what defines us, as well as what we might do to regain that definition and ultimately achieve a redefinition. It also looks at what it means to not only need help, but to be willing to accept that help. Anchored by a transcendent lead performance and an immersive and innovative sound design, “Sound of Metal” hits hard.

Published in Movies

When we think of sci-fi movies today, we tend to think of big, effects-driven events. We’re thinking about nine-figure budgets aimed mostly at either advancing franchises or originating them, the odd name director standalone project notwithstanding. These films allow for grand visual, visceral representation of the futuristic/alien/whatever worlds of their stories – and that grandness can cover up a lot of flaws.

But there’s a whole other tradition of cinematic sci-fi, one that can tell a commanding story without the bells and whistles. These films are the one that convey science fiction narratives through ideas, finding ways to engage and entertain without the trappings of spectacle. They are smaller films, with far less room for error – there’s no massive effects budget to distract from any missed choices. These indie offerings are much more warts and all.

“The Vast of Night” – newly streaming on Amazon Prime Video – falls very much into the latter category. The film, directed by first-timer Andrew Patterson from a script by James Montague and Craig Sanger, is a retro sci-fi delight telling the story of a fateful night in 1950s New Mexico where two young people find themselves in the midst of a mystery unlike anything anyone in their small town could ever have imagined.

The film leans heavily into its lo-fi high-concept underpinnings, going so far as to use a “Twilight Zone”-esque TV show called “Paradox Theatre” as a framing device. This isn’t about visual flourishes – though Patterson shows his clearly considerable stylistic talent in a few spots – so much as density of storytelling. The dialogue is thick and the pacing is deliberate, all in service to a narrative that unfolds in enigmatic quietude. It is atmospheric and creepy – and very good.

Published in Movies

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