DIRECTED BY: Jon Cvack
FEATURING: Laurence Fuller, Micah Parker, Marshall R. Teague, Rosalie McIntire
PLOT: To avoid being implicated in a murder, a browbeaten white-collar drone and his drifter friend take a trip to dispose of the body, only to find obstacles and growing suspicions at every turn.
WHY IT WON’T MAKE THE LIST: Road to the Well is a beautifully shot, deliberately paced neo-noir thriller. It falls firmly in the tradition of wronged men trying to get out from under a dangerous situation, and while a couple scenes are tinged with oddness, in every important respect the film is not at all weird.
COMMENTS: The deck is already stacked for this movie by throwing out the word “noir.” Noir is a handy label for a subset of a subset: the kind of thriller where morals are muddled and the protagonist gets what’s coming to him just as surely as the villain. In its classic form, black-and-white photography is augmented with an ominous soundtrack, hard-bitten dialogue, and high-contrast shadows, all contributing to a sense that our hero is trapped in a universe from which escape seems nigh impossible.
If there’s a more loaded phrase than “noir” in the annals of film criticism, it would probably be “neo-noir.” All genres mature, and the dismissal of the strictures of the Production Code changed the nature of noir. No longer could you be sure that characters would invariably pay for their mistakes. Color allowed filmmakers to add new signifiers of good and evil to their palette. Motivations became more complex, the lines between good and bad muddier, and the very concept of redemption was sometimes rejected outright. Neo-noir acknowledged the themes of its progenitor, but expanded their boundaries, to the point where critic Robert Arnett would lament, “Any film featuring a detective or a crime qualifies.”
Having said all that, writer/director Jon Cvack’s debut film checks all the boxes for neo-noir. When desk jockey Frank (Fuller) finds himself implicated in the brutal murder of a woman he just met, it’s a wrong-man scenario suitable for Hitchcock, and his questionable decision to try and cover up the crime sits comfortably in the pantheon of noir-hero bad ideas. The interesting variant here is the presence of a friend, itinerant goof-off Jack (Parker), who readily agrees to lend a hand by facilitating the disposal of the woman’s body. The result is a road movie in which truth and comeuppance always seem to be just a couple car-lengths behind.
There’s a feel of thrillers of a more recent vintage, such as Blood Simple or A Simple Plan. But Cvack has none of the Coen Brothers‘ absurdist view of life; even the ridiculous sight of Frank and Jack trying to haul the dead girl up the stairs in a suitcase is played completely straight. All the troublesome elements are explored: cleaning up blood, covering up the smell, finding a suitable burial site… they’re all here. Most significantly, of course, are the people you meet along the way, who seem to sense guilt coming from a mile away.
Those interesting people turn out to be part of the problem with the movie. Consider, for example, the film’s most potent scene, a tense encounter with a retired military chaplain whose intimidation has the force of morality, anger, and a secret agenda behind it. He’s in the movie for somewhere around 10 minutes, but his presence and impact dwarf that of the two leads. Compare that with Frank, ostensibly our hero but in actuality a complete cipher. Although he makes choices that lead down the story’s dangerous path, they are invariably so passive that it becomes far too easy to blame others, especially Jack. Frank is utterly lacking in agency, which is apt for his ultimate fate, but problematic when assessing the momentous choice he is called upon to make. Even under these most extreme circumstances, Frank struggles to establish a presence for himself , and ends up being a vacuum in his own story.
It doesn’t help that there’s a lack of suspense about the nature of Frank’s predicament. We are given critical information at the start of the film, and while we do not understand its meaning out of context, it creates an expectation that hangs over the proceedings. When we finally get the piece of information that ties it all together, it qualifies less as a twist than as validation of common sense.
Road to the Well looks spectacular, and the filmmakers know it; cinematographer Tim Davis is the first name credited after Cvack. Also contributing is the evocative, pizzicato-laced score of composer Conor Jones, who adds layers of foreboding and menace to scenes which don’t really go anywhere on their own. The production quality of the movie far exceeds its sub-six-figure budget, and Cvack and his collaborators deserve a look from big-time producers looking for great moviemaking talent. But his calling card is strangely uninvolving, mirroring Frank’s journey: a beautiful, tension-filled trip to another dead-end job.
WHAT THE CRITICS SAY:
“Cvack’s screenplay and direction is terrific in its ability to create mood, develop a sense of dread, and keep the performances and individual scenes consistently bizarre and uneasy. Even when all sense of logic sometimes abandons the film – certain sections feel disjointed or seem to be missing important pieces of information – the dedication to tone keeps the story from spinning out of control. …It works, and works well, again blending elements of the Coen Brothers with a Lynchian sense of off kilter madness.” — Larry Taylor, Monkeys Fighting Robots