Love and scandal are the best sweeteners of tea. —Henry Fielding

24 September 2017

Sleight of Hand

Sleight's title is a pun, and a clever one at that. It's a film about a young magician in Los Angeles who is raising his kid sister mostly by himself.

Sleight is a attempting to be a neo-noir crime picture, too. As well as – and this is what Sleight really wants to be – a 21st century sci-fi movie along the lines of Josh Trank's Chronicle.

Unfortunately, J.D. Dillard's movie doesn't always work. It's shot beautifully, and most of the acting is great – you should start seeing Jacob Latimore, who stars, and Storm Reid, who plays the kid sister, everywhere really really soon if there is any justice in this world. But the film's score doesn't turn the focus clearly enough toward the movie's science fiction elements, and so the film opts for weird and slightly spooky instead of occasionally wonderful and surprising. It's as though the composer and director can't decide whether the audience is supposed to like the science fiction elements or be scared by them. Accordingly, they made me uncomfortable instead of making me excited. I should have been thinking about how cool the whole thing was, and instead it left me worried.

The script, too, is not that great. It was written by Dillard and producer Alex Theurer, but the plot has a couple of holes, its love story is too truncated, and many of the difficulties in which the film ensnares its protagonist are a) absurd and b) way too easily resolved.

But this is only Dillard's second film, and it's directed well enough that I'll be interested to see what he comes up with next.