Mute is not a feel-good romp nor even what could be termed a fun distraction. Its roots are in films like Blade Runner, but without the history to support it. However, it has its own sort of magnetic pull thanks to director and co-writer Duncan Jones’s (Warcraft) efforts in this noirish confection.
The film unfolds at Jones’s typical laconic, but compelling, pace. The story and genre aspects aren’t entirely right, but it is consistent in its approach which allows it to work. And Jones’s nod to his previous release, Moon, is both subtle and amusing… it took me a few minutes to even realize what I’d just seen. Nods like that, which also fit into the world that has been built, you have to respect.
Most dystopian stories are about overthrowing the status quo so that sanity and justice can reign. Not this tale. This dark story is small and intimate against the background of the greater darkness of a totally screwed-up world that looks all-to-familiar. Mute also takes time weaving its its multi-threaded story into whole cloth. And then it heads down a corridor that almost ends on one of the darkest moments I’ve witnessed (we’re talking Oldboy dark). Fortunately it goes beyond that to get to someplace more palatable, but still not what one would really call happy.
The main dance is between a near silent Alexander Skarsgård (The Legend of Tarzan) and a hyper-juiced Paul Rudd (The Fundamentals of Caring). Their paths intersect over and over, eventually pulling them into the same story. Around these two are a bevy of odd characters. Justin Theroux (The Girl on the Train) as Rudd’s sidekick is creepy if not entirely believable. And Robert Sheehan (Geostorm) gets to totally tear it up with his outlandish character, but still manages to give him a bit of heart. Just a bit. I was also surprised to spot Dominic Monaghan (The Day) and Noel Clarke (Star Trek Into Darkness) in a couple of smaller and nastier roles.
This movie had a long road to screen. That it landed on the little screen rather than the large is probably for the best. While it has visual scope, it definitely would have had a narrow audience appeal. However, the restrictions of theatrical release may have also forced Jones to tighten up his final cut a bit as well; sort of a dual sword. The story-telling and conceits of the result, particularly the unique blending of cultures he works with, make this an interesting couple hours. Just don’t go in depressed or angry as this will only feed that spiral.
I enjoy Jones’s willingness to try new things and difficult story lines, and to tell them at his own pace. His opus definitely isn’t for everyone, but there is a talent there that is still developing and one worth watching. He got great a great performance out of Skarsgård and took Rudd some places I’ve not seen him do…and even managed to guide him to just enough humanity to pay off the plot. If you like Jones’s previous work, you should give this your time. If you haven’t yet discovered Jones, you can try this, but you might want to start with Moon and decide if his style jibes with yours first.