There are few surprises in this movie, but it is done with such emotional care and intensity that it works. And I say that despite the fact that it is essentially one long, rather abused metaphor. But director and co-writer Laure de Clermont-Tonnerre tackles that head-on and without apology, making it all palatable. She even plays with it in some clever ways.
But, directing aside, it is Matthias Schoenaerts’s (Red Sparrow) performance that sells the story. He is stretched so tightly through most of the movie that you expect him to literally burst. He maps a compelling journey that is far from a simple happy ending, but yet still manages to provide some closure for the audience. Bruce Dern (Nostalgia), Connie Britton (Professor Marston and the Wonder Women) and Jason Mitchell (Mudbound) along with Gideon Adlon provide the walls for Schoenaerts to bounce off of and reveal himself.
Filmed beautifully, and kept taut as a story, it is easy to make it through this movie even when you are sure of its direction. It is a glimpse into the criminal justice system and the Mustang program as well as a personal journey that reflects, at least in facets, aspects in most of us.