Tag Archives: Neil Burger

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The Born Identity

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The Inheritance

by Adam Barney

Reconnecting with an absentee parent later in life brings plenty of challenges and emotional work. This would only be magnified if your missing father happens to be a spy on the run from Interpol and the CIA.

Co-writer and director Neil Burger (The Illusionist, Limitless) wastes no time with the setup in Inheritance. Maya (Phoebe Dynevor from Bridgerton) has been taking care of her sick mother and hasn’t had any contact with her father, Sam (genre treasure Rhys Ifans, The Amazing Spider-Man, Notting Hill) in years. Unexpectedly, Sam shows up at her mother’s funeral and offers to take Maya on a business trip while she figures out life after caring for her mom. He’s sorry for abandoning the family and wants to start making it up to her.

Things go sideways almost immediately. Sam gets a call while they are at lunch and bolts out of the restaurant just before Interpol and local authorities show up looking for him. Maya ducks out of the restaurant only to get a call from her dad that he got away from the authorities, but he’s been kidnapped by someone much worse. He needs Maya to finish the job he was on – pick up a package from a safety deposit box and deliver it to his contact.

Maybe Maya takes after her dad more than she thinks. Now, she must learn on the job as she outwits and outruns all the parties hunting her and the package. Every stranger that approaches seems to have an ulterior motive and she doesn’t know who to trust, including her own dad.

Inheritance is a fast-paced globetrotter that rarely pauses to catch its breath. Shot on an iPhone and without permission in a lot of locations, the film has a grounded and realistic vibe to it. Because of these limitations, there are no big action set pieces. However, there is an impressive motorcycle chase.

Despite the brief 100-minute runtime and frantic pace, Inheritance does not shortchange the relationship drama between Maya and her dad. Their interactions are limited to brief phone calls but she is also doing her own research along the way to try and understand who he is. Both performances are quite good throughout and especially in a moment when they expose some raw nerves when their time is up.

Inheritance excels as a low budget spy thriller that works in some unique family drama. It does not try to reach beyond its limits to put the world at stake or to showcase a bunch of thrilling stunts. Instead, it delivers a smart and enjoyable chase around the globe with small, personal stakes that feel refreshing in a well-worn genre.

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God Save the Queen

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The Marsh King’s Daughter

by Hope Madden

From its opening moments, Neil Burger’s The Marsh King’s Daughter establishes a meditative, even spooky mood. And though tensions rise fairly steadily over the following 108 minutes, he never entirely loses that atmosphere.

It’s a mood that suits a film about a young woman (Daisy Ridley) brought up in the most remote part of Michigan’s upper peninsula. Her father (Ben Mendelsohn) raises her to track, hunt, and recognize her place in the natural world.

Young Helena (played in youth by Brooklynn Prince, solid as ever) disapproves of her mother’s dour ways and prefers the company of her doting if strict father. This is why she’s so unhappy to be separated from him when her mother – who’d been kidnapped years earlier and forced to live in isolation – is finally rescued, and takes Helena with her to freedom.

And though Act 2 devolves into a fairly predictable if well shot and well-acted thriller, the effort put into the first act establishes Helena’s central conflict. She loved her dad more than anything in the world and he loved her back, in his way. His way was deeply, criminally wrong. But with Mendelsohn in the driver’s seat, the villainy is more than subtle and sinister enough to amplify an often-missed opportunity. We know why Helena loves and misses her father, regardless of the monster she logically realizes he is.

Mendelsohn is masterful, as is routinely the case. He brings an unnerving calm, a low key but committed sense that his way is the right way, the only way. His quietly impatient performance matches the films slow but deepening sense of unease.

Ridley – wiry, alert but never showy – convinces. Helena is what’s left of the kid whose idyllic childhood turned out to be more nightmare than dream.

None of the other characters have enough richness to feel like more than vehicles for the father/daughter story. Garrett Hedlund is particularly hamstrung by the underwritten “supportive spouse” role, and Gil Birmingham feels especially manhandled as the tragedy waiting to happen.

The most disappointing aspect of The Marsh King’s Daughter is the way the second act bends to predictability. But Burger remembers the strength of his opening when father and daughter return to the woods in the last third, and it’s worth the wait.

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Everything Adults Do

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Voyagers

by Hope Madden

If you have ever wondered what Lord of the Flies might look like in space, Neil Burger thinks like you.

The generally mediocre director (The Upside, Limitless, Divergent, etc.) follows a manned vessel in search of the next planet we can ruin. Or not. Maybe our better natures will win out.

Voyagers is the journey toward that new home. The crew doesn’t really know Earth—they were the result of specifically engineered donors, raised indoors so they wouldn’t miss open spaces, and will spend their whole adult lives on the ship. Their children will, too. But their grandchildren will be the first generation to see the new planet.

Naturally, this is only going to work if nothing kills them and they don’t kill each other before future generations can exist.

Scientist and father figure Richard (Colin Farrell) will shepherd them through as much of the journey as he can, but the future of the human race is in the hands of these young people.

Essentially a YA space fantasy, Voyagers is not without its charms. Tye Sheridan and Fionn Whitehead lead a cast of convincingly naïve geniuses. The conflict is obvious (especially for those who read Golding), but Burger zigs and zags enough to keep your interest. The director’s knack for encapsulated action and his sharp cast’s baser instincts create some B-movie thrills.

The nature versus nurture argument gets a quick nod, but Burger (who also wrote) isn’t especially preoccupied with the why. The immediacy of the fact that it just is requires more attention.

Science fiction tends to be heavily allegorical and heavily borrowed—Voyagers is certainly both of these. Although the execution feels a bit like a neutered version of Claire Denis’s brilliant 2018 cosmic horror High Life, the story itself looks to the distant future to illustrate our present (and very, very recent past).

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The Heisenberg Sincerity Principle

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The Upside

by Matt Weiner

The man who can’t feel a thing meets the man who hasn’t cared for anybody but himself. You will not believe what happens next.

Actually, if you’ve seen any inspirational movie about overcoming adversity in the last half century, you will totally believe what happens next. There is one big surprise in The Upside, though, and it’s how committed the leads are to making it way less cynical than it has every right to be.

I’m not sure it’s enough to redeem a film that’s been done dozens of times, but at least it makes this entry highly watchable. For this version, Bryan Cranston and Kevin Hart star as the odd couple from different walks of life who learn valuable lessons from each other in unexpected ways.

After being paralyzed from the neck down and losing his wife to cancer in short succession, billionaire investor Phillip Lacasse (Cranston) has given up on life. A chance encounter with street-smart parolee Dell Scott (Hart) brings a burst of fresh air into Lacasse’s narrow world, and Dell is hired on as a live-in aide.

Lacasse sees potential in Dell and appreciates having someone who treats him as a person, not merely someone to be pitied or ignored. It’s an admirable sentiment, and the chemistry between Cranston and Hart is the most winsome part of the movie. And a good deal more enjoyable than the contrived romantic subplot with Nicole Kidman, who gets to put her real accent to good use but not much else.

Cranston and Hart play off each other so well that it makes you wonder why not put that talent to work with a less hidebound story? The Upside is an adaptation by Neil Burger of the 2011 French film The Intouchables, which was wildly popular despite suffering from the same clichés. The script for the remake by Jon Hartmere manages to make the story a little more subtly endearing than colonial when Lacasse, doing his best platonic Henry Higgins, teaches Dell to appreciate fine art and opera. Just a little.

But banish those nagging doubts from your mind. The Upside pleads to be taken as all text, no subtext. This is, after all, a movie that turns themes, lessons and even symbolism into neatly packaged dialogue. You won’t hear anything new, but a lot of it is genuinely funny and well-delivered.

And who am I to judge the French for shopworn sincerity? They’re not the country that gave an Oscar to Crash.