Movie Details
Movie: Causeway(2022)
Director: Lila Neugebauer
Cast-Jennifer Lawrence, Brian Tyree Henry, and Linda Emond
Genres: Drama
Release date: 10 September 2022
IMDB Rating: 6.6/10
Language: English
Duration: 1h 32m
Trailer
Synopsis
Jennifer Lawrence knows how to choose roles. Her career was kicked off by the popular series X-Men and the Hunger Games, but since then she has managed to win an Oscar, become America’s sweet darling (mainly thanks to her impressive holdovers at the Oscars), and subtly transform into an actress who is not afraid of challenges and purposefully pursues roles in films that resonate in society, or in which he gets a great opportunity to showcase his talent. Now it was time to show off.
Movies like Causeway often celebrate success at the Oscars, but on the other hand, some movies want the Oscars. Balancing real qualities with indulge to audiences and the academy is often quite tricky. In addition, academics are not stupid and can recognize and rightfully ignore outright plagiarism. The bridges could have been just like that. It’s a story about a young woman returning from Afghanistan with a brain injury and, above all, post-traumatic syndrome. She can’t function very well in her old life, she’s suffocating her old traumas, and she’s only kept afloat by her strong desire to handle everything and a new friend who is physically and mentally similar. Two devastated and broken people determined not to give up, but not quite ready to face themselves…
Perfect material for some kind of milkshake, right? In this case, fortunately, we won’t see him. Causeway is an honest drama, very intimate and about serious matters, but director Lila Neugebauer, who is making her feature debut and has a lot of experience in the theater, managed to mix it all up so that it doesn’t get overdone. Bridges are a story we’ve all seen somewhere, and probably more than once. And there is a pretty good chance that something similar will arrive next year during the Oscar season, but in this case, the lack of originality does not particularly matter, because everyone at Most knew very well what they were doing and where to press the saw and, above all, where to cut.
It’s nice that a drama that calls itself big emotional scenes and over-the-top acting goes in a completely different direction. Both heroes, the veteran Lynsey and the mechanic James are believable characters and interesting despite their ordinariness. Each of them holds something ugly inside of them that they couldn’t deal with, but fortunately, Lila Neugebauer doesn’t try to make the kind of movie where the traumas can be resolved before the closing credits. Broken heroes fight with the world and themselves, but they don’t need to cry into the camera and unnecessarily stir up emotions. All they have to do is open a beer, light a cigarette, and just talk about personal things with someone who may not fully understand them but is willing to listen.
This mediocrity is the main strength of Causeway. At first glance, it’s a film where nothing happens, but its heroes manage to get under each other’s skin and eventually the audience’s, at the same time, one has the feeling that one is watching only an episode from their lives, in which nothing very important happens in the end, nothing will be resolved, there will be no happy ending, but no bad ending either. It’s just two ordinary people trying to function somehow even though they’re putting themselves through a lot of trouble. Lawrence is perfect and convincing, and Brian Tyree Henry confirms that he is one of the most interesting actors today and deserves to be seen more.
Most take a while to hook a person because, despite the perfect acting and sympathetic efforts not to go against the audience and simply record boredom, mundanity, and struggle with oneself, it is a film in which not much happens. Neither in terms of story nor direction. Lila Neugebauer cannot deny her theatrical roots and usually just films the two heroes and watches them talk. Thanks to both actors, non-trivial dialogues pleasant genuineness, unpretentiousness, and zero patheticness, it’s fun to listen to. At the same time, however, this targeted unimaginativeness is perhaps also the reason why Causeway will most likely be forgotten by the next Oscar season… But it would be a shame not to give them a chance, as far as chamber dramas are concerned, it is well above average, where everything works as it should.
Jennifer Lawrence knows how to choose roles. Her career was kicked off by the popular series X-Men and the Hunger Games, but since then she has managed to win an Oscar, become America’s sweet darling (mainly thanks to her impressive holdovers at the Oscars), and subtly transform into an actress who is not afraid of challenges and purposefully pursues roles in films that resonate in society, or in which he gets a great opportunity to showcase his talent. Now it was time to show off.
Movies like Causeway often celebrate success at the Oscars, but on the other hand, some movies want the Oscars. And balancing real qualities with pandering to audiences and the academy is often quite tricky. In addition, academics are not stupid and can recognize and rightfully ignore outright plagiarism. The bridges could have been just like that. It’s a story about a young woman returning from Afghanistan with a brain injury and, above all, post-traumatic syndrome. She can’t function very well in her old life, she’s suffocating her old traumas, and she’s only kept afloat by her strong desire to handle everything and a new friend who is physically and mentally similar. Two devastated and broken people determined not to give up, but not quite ready to face themselves…
Perfect material for some kind of milkshake, right? In this case, fortunately, we won’t see him. Causeway is an honest drama, very intimate and about serious matters, but director Lila Neugebauer, who is making her feature debut and has a lot of experience in the theater, managed to mix it all up so that it doesn’t get overdone. Bridges are a story we’ve all seen somewhere, and probably more than once. And there is a pretty good chance that something similar will arrive next year during the Oscar season, but in this case, the lack of originality does not particularly matter, because everyone at Most knew very well what they were doing and where to press the saw and, above all, where to cut.
It’s nice that a drama that calls itself big emotional scenes and over-the-top acting goes in a completely different direction. Both heroes, the veteran Lynsey and the mechanic James are believable characters and interesting despite their ordinariness. Each of them holds something ugly inside of them that they couldn’t deal with, but fortunately, Lila Neugebauer doesn’t try to make the kind of movie where the traumas can be resolved before the closing credits. Broken heroes fight with the world and themselves, but they don’t need to cry into the camera and unnecessarily stir up emotions. All they have to do is open a beer, light a cigarette, and just talk about personal things with someone who may not fully understand them but is willing to listen.
This mundanity is the main strength of Mosty. At first glance, it’s a film where nothing happens, but its heroes manage to get under each other’s skin and eventually the audience’s, at the same time, one has the feeling that one is watching only an episode from their lives, in which nothing very important happens in the end, nothing will be resolved, there will be no happy ending, but no bad ending either. It’s just two ordinary people trying to function somehow even though they’re putting themselves through a lot of trouble. Lawrence is perfect and convincing, and Brian Tyree Henry confirms that he is one of the most interesting actors today and deserves to be seen more.
Most takes a while to hook a person because despite the perfect acting and sympathetic efforts not to go against the audience and simply record boredom, mundanity, and struggle with oneself, it is a film in which not much happens. Neither in terms of story nor direction. Lila Neugebauer cannot deny her theatrical roots and usually just films the two heroes and watches them talk. Thanks to both actors, non-trivial dialogues pleasant genuineness, unpretentiousness, and zero patheticness, it’s fun to listen to. At the same time, however, this targeted unimaginativeness is perhaps also the reason why Mosty will most likely be forgotten by the next Oscar season… But it would be a shame not to give them a chance, as far as chamber dramas are concerned, it is well above average, where everything works as it should. And sometimes that’s enough.
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