Wineville

by Rachel Willis

Right from the start, director and star Brande Roderick lets you know what kind of film you’re in for with Wineville—and it’s not a warm family reunion. Something sinister waits for Tess (Roderick) when she takes her son to settle her father’s estate, inadvertently left to her after he dies without a will.

Still living on the family vineyard is Aunt Margaret (Carolyn Hennesy) and Joe (Casey King). Joe’s presence at the vineyard is one Tess doesn’t expect, but the audience knows right away that something is amiss.

Unfortunately, the promise of the film’s opening isn’t realized during the bulk of the move. What unfolds is a mishmash of genres and tones.

Often, the film’s tone wreaks havoc on what we’re is supposed to pick up from certain scenes. Actions take on unintentional comedic undertones rather than building tension. Flashbacks are so over-the-top that their traumatic occurrences don’t carry the gravitas they should. It makes for some confused viewing.

Despite Tess’s past trauma, she isn’t the most compelling character. Her son seems to exist only to give importance to what lies ahead. Unfortunately, the characters never come to life in a way that makes you worry for them or care what happens. It probably would have been better if Tess had brought a dog along with her instead of a son (and I say this as the mother of a son).

The best part of Wineville is Joe. He’s the most compelling character, and the one who truly seems to carry the weight of the family’s traumatic past. Tess flippantly states “she’s over it” after recounting a series of horrific events and the film doesn’t do much to show that she really isn’t. On the other hand, Joe seems to have suffered less but carries the pain with him more honestly. How the past manifests in his present is the most interesting part of the story.

It’s a shame there is too much going on for the film to really hone its focus. This one leaves a lot to be desired.