Netflix | Release Date: November 17, 2017 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
41
Mixed:
3
Negative:
0
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Critic Reviews
Mitchell — who was so marvelous as Eazy-E in the 2015 "Straight Outta Compton" — is superb here, as a young man struggling with what it means to be at home within his own heart, and within his country. Mudbound — tough and bittersweet and, in places, painfully brutal — is all about what it really means to be an American.
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To a degree that is both formally impressive and politically astute, Rees and her co-writer, Virgil Williams, have largely retained the symphonic, almost Faulknerian structure of multiple narrators that governed Jordan’s story. The radicalism of Mudbound thus lies in its inherently democratic sensibility, its humble, unapologetic insistence on granting its black and white characters the same moral and dramatic weight.
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Voiceovers build on top of voiceovers, and we feel as if we’re simply getting to know these people a little better, even while Rees is gesturing toward things to come. The result is a deeply engrossing film — its two-plus hours whiz by — about stumbling one step forward and two steps back toward a more enlightened existence.
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The biggest accomplishment of Mudbound is its restraint; it’s a lyrical lament that aims both for the heart and the mind. Rees, the indie darling of six years ago, is undoubtedly on her way to becoming a prominent filmmaker, with a new kind of American classic already under her belt.
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Mudbound is a daring approach to a classical narrative, a film that tries to look from multiple perspectives at an intimate human drama that has far-reaching ramifications. Its imperfections are debatable, and fairly minor. It is the work of a bold storyteller working at the top of her game.
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Mudbound requires a taste for leisurely storytelling generally more focused on building careful nuances and layered characters than on big dramatic cymbal clashes. But patient investment pays off in an epic that creeps up on you, its stealth approach laced with intelligence, elegance and an affecting balance of humanity and moral indignation.
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The director and her cinematographer Rachel Morrison do wonders with the elements that batter the people of every race and social class in the Delta. But it's the storm raging inside these characters that rivets our attention and makes Mudbound a film that grabs you and won't let go.
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The movie is admirable in its ambitions; in its execution, less so. The difficulty in making an “intimate” epic is that the characters have to fill out the frame in ways that are both highly individualized and symbolic. They have to be both lifelike and larger-than-life. In Mudbound, this combination works only fitfully.
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Mudbound’s is a large and cumbersome story not because of the complicated dynamics it presents, but because of the way they’re presented, with a lot of opportunity to explore the complexity between characters, but little of those opportunities are constructively used, perhaps because there is too much material on hand.
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Movie NationDec 6, 2017
Mudbound is not a great film, not polished enough to earn its “Oscar contender” hype. But it is a worthwhile one. It doesn’t touch us the way the sentimental “Places in the Heart” did, but doesn’t flinch (much) from showing the Bad Old Days at their very worst, which more sentimental films on this subject invariably do.
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