Louder Than Bombs (2016)
Critic Consensus: Louder Than Bombs finds director Joachim Trier using a capable cast in pursuit of some lofty dramatic goals, even if his ambitions occasionally evade his grasp.
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as Gene Reed
as Jonah Reed
as Conrad Reed
as Isabelle Reed
as The Agency Woman
as The Curator
as Man Behind Counter (Coffee Shop)
as Student (College Party)
as Melanie's Father
as Melanie's Friend #1
as Melanie's Friend #2
as Charlie Rose
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Critic Reviews for Louder Than Bombs
It's a tale which unfolds nuance by nuance, and with each insight it becomes easier to empathise with both father and sons. Trier may work quietly but he knows all about pace and subtlety.
The people aren't people here; they're not even types - just instruments for conveying words and pictures, some of which are artful, but not nearly enough to make up for the dire drear and maudlin indulgence.
Two sons and their father grapple with their dysfunctional family situation, resulting in some reflective, engaging drama.
Here is a drama about a troubled family that builds not to a crescendo of screams and confrontations, but toward empathy and understanding.
There are moments of almost unspeakable beauty in the film, not the least of which are Isabelle's war zone photographs. Like the movie itself, they dare you to look away but award you deeply for baring witness.
Audience Reviews for Louder Than Bombs
A solid film that has great direction and performances, Byrne and Eisenberg are compelling in the leads. I didn't know what to make of the trailer but word of mouth got the better of me and I found one of the best films of 2016. The film deserved a bigger audience and more award recognition.
Emotionally complex portrayal of a family suffering from loss. Trier is somehow able to intricately navigate these very complex characters across the span of several days, showing you glimpses of each character's past and fragments of their relationship with someone who had a profound impact on their lives. It's touching without being overwrought, and intense without being self-serious. Its obvious the director feels very much for his subject, and there are some very truthful moments that boldly do not play out for dramatic effect, rather minutia of daily experiences shown through a thoughtful lens.
Trier follows his excellent Oslo, 31. August with another devastating drama, this time about a family who must cope with the weight of loss, and, even if a bit uneven, it is nice to see the sincere way that it shows and explores the complexity of the characters' feelings.
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