Train Dreams is a slow-burning drama set in the early 20th century American West. While the film boasts breathtaking cinematography and a captivating performance by Joel Edgerton, its meandering narrative and philosophical musings may leave some viewers wanting more.
Train Dreams requires patience. It’s a slow, meandering yet intimate exploration of the American West in the early the 20th century. Drawing inspiration from the likes of Terrence Malick, director Clint Bentley adapts the screenplay from Denis Johnson’s novel. The film is visually gorgeous, with some of the best cinematography at this year’s Sundance Film Festival, and while I appreciated its introspection, it’s far too drawn out and aimless.
Train Dreams Is Adrift In An Overlong Story There’s so much to like about Train Dreams. Its cinematography, by Adolpho Veloso, is utterly breathtaking. The film spends much of its time outside and takes advantage of nature’s splendor — its majestic forests and calm riversides. Grainier finds himself drawn to it, gazing at the night sky or walking through the woods. He never says much but he’s always looking for purpose in his life, though it only ever comes once.
However, this is also where the film falters, as it focuses on his guilt for a good stretch of the film while the nameless man who haunts his dreams embodies the silent Asian trope. The narration isn’t grating and it’s quite lovely at times, giving us just enough without overexplaining. But the overall lack of dialogue in an overlong film forces our attention to wane. There is only so much Edgerton can do — and he does quite a lot in a role that demands his all — to maintain our interest.
FILM REVIEW AMERICAN WEST HISTORICAL DRAMA CINEMATOGRAPHY EXISTENTIALISM
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