"Two
different stories fuse into an intense final act.”
Some secrets are meant to be buried, even up to one’s grave.
In Uncle John, the debut feature of
first-time director and co-writer Steven Piet, a small-town crime drama and a
big-city romantic comedy flawlessly converge into a heart-breaking character
study. This slow-burning two-pronged story reminds us that one can never really
know one, even one’s self.
The movie opens with what appears to be the aftermath of a
fresh murder. A man stumbles into a river and drowns. John (played by John Ashton), a hunch, rugged yet
strong, sixty-something carpenter and farmer in Wisconsin, silently observes
the scene. Immediately, John wraps the body in a tarp, carries it over into his
worn out pickup truck, rushes into an empty quarry and performs a DIY
cremation. To further erase any trace of evidence, he pounds and minces the
burnt bones. Obviously respected and loved in his small, rural community, John
always involves himself in small talks and he soon learns that Dutch Miller,
the murdered man, is declared missing by the police force. Prior to being
killed, Dutch has found Jesus and has been going around town apologizing and
atoning for his past mistakes. Probably, he must also have plenty to say about
the rumors of him being romantically involved with John’s now-deceased wife.
The recent development in the case may have spared John but Dutch's brother
Danny (Ronnie Gene Blevins) is feeling something different in his guts.
In downtown Chicago lives Ben (Alex Moffat), a likable
simple guy and graphic designer working in an advertising agency. For a yogurt
campaing, he gets a chance to collaborate with the newly-hired junior producer
fresh from New York, Katelyn Barnes (Jenna Lyng). Despite working together most
of the time and going out for a drink at nights, the two are careful in
maintaining their friendly co-worker relationship. But when Ben takes her to a
two-and-a-half-hour trip to his uncle who has raised him since ten, the two
slowly warms up to each other while in the background, Uncle John silently
cooks up another murder case.
Uncle John is a
sublimely ominous, deliciously simmering and smartly created suspense. It is
mostly a psychological thriller but unlike most films in the genre, it does not
follow similar roads. Instead, it intertwines the crime caper with a light and
easy rom-com, creating an atmosphere of equal tension and relaxation. It's
like taking commercial breaks in between intense scenes. Yet, both stories are
deliberately paced and well-studied, giving us a deeper understanding of the
characters and their motivations. As it turns in the end, the blossoming
romance between Ben and Kate is not merely a distraction as their presence in John’s farm tightened the drama and elaborated the fears and excitement. It
is undoubtedly a taut and smothering climax as one will feel genuine concern
for the four main characters and wonder how the unrecognized tension will be
eventually resolved.
There are times that the movie feels winding and
overstuffed. It can still be cautiously cut since there are details that do not
necessarily influence the plot and the characters like the post-one-night-stand
mornings and a flirty client. It is already ambiguous and such inclusions
undermine the narrative. For some, the conclusion may be sudden and
unsatisfying. But then again, the film is filled with ambiguities, leaving the
audience decide how to take the murk.
Moffat and Lyng are lovely together as the couple from the
big city. They do not have obvious chemistry but there is a hopeful spark that
consequently does not disappoint the viewers. Individually, they deliver the
needed energy and sentiments for their characters. But it is Ashton who totally
carries the film. He is mesmerizing and brilliant, delivering an award-worthy
performance of a man harboring a life-defining secret. His emotions are
palpable, especially when he displays tension tinged with fear and guilt.
Uncle John is an
impressive work for a first-time director. It is evidently created with
passion, intelligence and craftsmanship. There may be flaws in storytelling or
in the narrative itself but the final product is a solid and lingering piece of
art.
Production:FilmBuff
Cast: John Ashton, Alex Moffat, Jenna Lyng, Ronnie Gene Blevins, Laurent
Soucie
Director: Steven Piet
Screenwriters: Steven Piet, Erik Crary
Producers: Erik Crary, Jon Frank, Gary
Jesdanun, Joseph K. Rubin
Director of photography: Mike Bove
Editor: W.T. O’Brien
Music: Adam Robl, Shawn Sutta
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