Louder than Bombs, film review: ‘Can-of-worms drama’
- Credit: Archant
This small scale American indie offers a variation on the can-of-worms drama about the dysfunctional family meeting up at a funeral.
The difference is that there isn’t a funeral; two years after the death of a celebrated war zone photographer (Huppert), the surviving family get together to go through her work prior to a gallery holding an exhibition.
The father (Byrne) cannot communicate with his withdrawn teenage son (Druid), while his other son (Eisenberg), a lecturer, is struggling to cope with the birth of his first child.
Of course, conversations will be had, reconciliations will be sought, but mercifully, shouting is mostly avoided.
Trier mixes in dream sequences and flashbacks so that it is more ethereal and serene than than these occasions usually are; it’s ever so slightly American Beauty-ish.
You may also want to watch:
It’s a drama, but the worms are coaxed gently and individually from the can, and are then tastefully presented.
Quite what is achieved by all this is up for debate.
- 1 'Proper old Islington boozer' voted best pub by readers
- 2 Trevi Ristorante scoops prize with readers' votes
- 3 Kacem Mokrane: Islington man amongst seven charged with 2017 murder
- 4 Man in Highbury court charged with shooting gun in High Holborn
- 5 Dog Olympix 2021 raises more than £700 for a water fountain in Whittington Park
- 6 Mem and Laz Brasserie voted as readers' favourite restaurant
- 7 Aristocrat's daughter, 25, died unexpectedly after developing 'severe headache'
- 8 Spectrum to C5: How Clive Sinclair began the UK’s tech revolution from a house in Islington
- 9 Tony Eastlake: Man denies murder of ‘flower man of Islington’
- 10 'Islington drivers – you don't always need to overtake cyclists'
It tinkers with major themes about our engagement with the wider world and the lessening of the power of photojournalism to provoke a reaction in western society.
Huppert’s war photographer says she isn’t like the others who are addicted to the thrill of it, but when she is back home she is restless.
She is perfectly cast as a sanctimonious risk taker a role that has been the mainstay of Huppert’s career.
As the father Byrne remains softly spoken throughout; his character seems to be in retreat from centre stage and he remains oddly peripheral, leaving the film’s main focus on the only unknown member of the cast, Devin Druid.
Rating: 3/5 stars.