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The fact that ‘wander‘ occasionally takes its action too seriously makes me want to not give it another go. However, things like a podcast on conspiracy theories hosted from a place that’s literally titled ‘middle of nowhere’ made me wanna reconsider. But then again, it’s a film that just uses mental illness and immigration as plot triggers so it leans towards the incomprehensible urge that needs to be judged on moral ground. This is sad for a viewer like me because i enjoy a sleek, pulpy thriller that doesn’t take itself too seriously. Wander does and it does it with such exemplary incoherence that a critical scan is indeed needed.
We open with a killing that is slated as an accident. A woman blows up while trying to run away from her damaged car. Her chest explodes – as if a deeply implanted time bomb in her chest suddenly exploded. She is from wander – a cue to big bold border signal that introduces us to the wander and the town it is set in.
It’s a phantom town where all that feels like a trainwreck. Troublesome, remarkable things are happening in Meander and just a profoundly upset ex-cop-cum-web recording host-cum-private-specialist who dwells some place in ‘Center of No place’ can track down replies to. The main issue is – he is a despondency blasted, forlorn man who has separated himself from the world we live in. This pill-popping, going to detonate inside man is up for the journey since it’s private.
Presently, this is the specific sort of b-film premise that i’m down for. I realize that things will get fascinating sooner or later with regards to time and the turns will doubtlessly embody me as I wheeze in my extravagance seeing. Unfortunately, meander is excessively adolescently written to hit those notes, as a matter of fact. Right off the bat, the plot is out of control with next to zero similarity to the genuine thematical components it pivots to seek after. Besides, the characters – particularly the one at its middle is so questionable and unusual; both in measures of how conquerable he accepts his life is and the way in which totally ludicrous his themes are spread out, that you become only a marvelous to the descending winding the film leads on.
There’s a batman-voiced portrayal that Aaron Eckhart’s Arthur Bretnik is into is so bizarre and awkward that it shouts devastating sentiments inside the watcher. All the more thus, there are various endeavors made by chief April Mullen to intentionally embed plot openings, to ring your back with turns just to appear to be manipulated and out and out nonsensical. Tim Doiron’s insane composing is to be accused part of the way since it burns through such a lot of time mistaking you for quickly presented non-straight narrating, that you wind up feeling baffled instead of being excited.
Wander is limited to a shallow depth in its characters as the thematic relevance is thrown off the window in order to introduce an element of surprise. The shabby handheld camera work and muted, brooding performance from even veterans like tommy lee jones doesn’t help either. I think i would have been happier if the paranoia was used as a thrilling element rather than a delusional one.