Berserk Films
The road-trip movie is a staple of the Edinburgh Film Festival programme every year, a classic movie of estranged family or friends coming together on some sort of trip. This year, it’s in the form of Elfar Adalsteins’ delicately balanced directorial debut End of Sentence.
In the opening moments of the film, we’re introduced to Anna Fogle (Andrea Irvine); she’s off to visit her son, Sean (Logan Lerman), in prison but his father Frank (John Hawkes) remains outside – trepidation to see him, their dynamic is quickly established: Frank and Sean aren’t traditionally close. However, when Anna passes away shortly thereafter, her illness getting the better of it, Frank returns to collect Sean upon his release to convince him to fulfill his mother’s last wish to take a trip to Anna’s homeland of Ireland to scatter her ashes together. Wanting nothing to do his with father, Sean declines the proposition until Frank promises him a ticket to California once the trip is over, as well as the fact they won’t have to see each other ever again.
Whilst End of Sentence does offer a familiar recipe – cinema has done this feuding father-son story to death at this stage – Michael Armbruster’s script is so considerately crafted and sensitively observed that you can’t help but fall for the charm of it all. Frank and Sean’s relationship is the crux of the film and it’s so superbly realised; the former is a meek, reserved individual with the latter always agonising him to toughen up and stand up for himself. It’s a dynamic that could have felt forced yet has the resonance of an authentic, conflicted father-son relationship. There is a lot of emotional moments to be found from their relationship but it thankfully never comes off as too melodramatic or over-sentimental, with Adalstein striking the perfect balance of heart and emotion – and never letting the film fall too hard either way.
Related: The Souvenir review [EIFF]
Adalstein opts for a minimalistic approach here that works in the film’s favour; he really lets the characters – and the cast – breathe and allows for moments to really simmer and play out. Of course, Lerman and Hawkes are both on top-form; their chemistry is believable and textured and the pair both give such nuanced, subtle performances – they’re both damaged people and the way the performances explore this with such restraint is a testament to their craft as performers. It’s docility versus hostility in a way that never feels overcooked or obvious; the writing, direction and performances all come together to really build upon that in the most unexpected of ways. As is the case with any road-trip endeavour, the pair do eventually patch things up – a subplot involving Sarah Bolger’s hitchhiker Jewel plays a key part in this, although it can feel a little too grandiose and contrived compared to everything else that comes before – but it’s the process of reconciliation between the really makes the film soar. Armbruster and Adalsteins take a familiar – at times, even predictable – concept and put a fresh spin on it that, anchored by two stellar leading performances, a meticulously realised central relationship, and the odd little twist, makes for such a warming, emotional and thoroughly satisfying journey.
End Of Sentence was reviewed at the 2019 Edinburgh International Film Festival.
