The title aptly portrays the life of ordinary folks, with all the familiar problems or flaws one expect from them. It shows domestic issues and mundane stuffs in a patient pace, yet the delivery of characters feels so genuinely inviting. Good script and acting make these unassuming characters easily identifiable while presenting twists so bizarre they might just be unnervingly realistic.
After what seems to be a domestic violence, Teddy (Fran Kranz) and Molly (Jocelyn Donahue) are not in the best terms. The debacle disturbs Molly's brother Gordon (Kenny Wormald), who has timid personality but is highly determined to resolve the situation. Each character tries to overcome the issue but with much different means, the couple might attempt to sort it out between themselves, but Gordon opts for much dangerous path of hiring a hit-man.
It plays out in solemn tone, occasionally switching between trivial matters and risky shady business. Fran Kranz is pretty convincing as the remorseful husband. Heartfelt apology, some humor and compromising nature make him a more likable guy than expected. As for the wife, Jocelin Donahue delivers a very compassionate performance. She remains strong yet it is her weaknesses which serendipitously create a compelling and deep character.
Both of them look excessively normal, though in some subtle ways the movie keeps the audience guessing if the forgiveness is warranted. Meanwhile Kenny Wormald looks frightened and confused as he steps outside his comfort zone, meeting the hit-man Howard (Chris Mulkey). As the least confrontational character, Gordon is put in situations he fears the most, especially when Howard is exceptionally aggressive. Gordon seems cowardice and reluctant, though he has a sincere nature which could appeal to the audience. Howard, on the other hand, is incredibly antagonistic, just giving malicious intent with every word spewed.
Cinematography produces a somber view of their lives. Using backdrop of mostly rural town it looks modestly slick. Much of the scenes are people dining as the camera shoots them from the side and occasionally pans. The visual lets the actors deliver their emotional lines in laid back manner, when the twists occur the quaint ambiance actually produces more impact. This is a relatively slow thriller, but it is never tedious.
The Living presents an intimate look of the characters' lives, so close to home it's both disturbing and also absorbing.
After what seems to be a domestic violence, Teddy (Fran Kranz) and Molly (Jocelyn Donahue) are not in the best terms. The debacle disturbs Molly's brother Gordon (Kenny Wormald), who has timid personality but is highly determined to resolve the situation. Each character tries to overcome the issue but with much different means, the couple might attempt to sort it out between themselves, but Gordon opts for much dangerous path of hiring a hit-man.
It plays out in solemn tone, occasionally switching between trivial matters and risky shady business. Fran Kranz is pretty convincing as the remorseful husband. Heartfelt apology, some humor and compromising nature make him a more likable guy than expected. As for the wife, Jocelin Donahue delivers a very compassionate performance. She remains strong yet it is her weaknesses which serendipitously create a compelling and deep character.
Both of them look excessively normal, though in some subtle ways the movie keeps the audience guessing if the forgiveness is warranted. Meanwhile Kenny Wormald looks frightened and confused as he steps outside his comfort zone, meeting the hit-man Howard (Chris Mulkey). As the least confrontational character, Gordon is put in situations he fears the most, especially when Howard is exceptionally aggressive. Gordon seems cowardice and reluctant, though he has a sincere nature which could appeal to the audience. Howard, on the other hand, is incredibly antagonistic, just giving malicious intent with every word spewed.
Cinematography produces a somber view of their lives. Using backdrop of mostly rural town it looks modestly slick. Much of the scenes are people dining as the camera shoots them from the side and occasionally pans. The visual lets the actors deliver their emotional lines in laid back manner, when the twists occur the quaint ambiance actually produces more impact. This is a relatively slow thriller, but it is never tedious.
The Living presents an intimate look of the characters' lives, so close to home it's both disturbing and also absorbing.
