Nevertheless, Raboy manages to pull off several galvanic cinematic effects even as his scenario yields little more than exasperation. Marshall) as Charlotte’s father, an officer of the law who mainly sits in shadows and mopes, is ineffectual on purpose, I suppose, but his inertia is so overstated it’s almost funny, and not in a good way. When Joe speaks of enduring “all this heat, all this sweat, all this pain, until we melt together again,” I was suddenly reminded of the old Monty Python sketch in which Terry Gilliam’s military lawyer stands and exclaims, “Sorry but my client has become pretentious!”Īnd the film’s temporal distortions and off-ramps at first seem to dilute and diffuse the movie’s serial-killer storyline, until one realizes that it’s actually just disguising the fact that the storyline doesn’t have much there there to begin with. The movie is suffused with enigmatic touches like this, but Raboy, as he increasingly uses voiceover in a way that’s very much Malick, can lose hold of the distinction between mystery and affectation. They’re driving around now in Joe’s pickup, enveloped in darkness. “That was the most painful week of my life,” Charlotte says, in protest. After Charlotte tells him “You’re back from the dead,” he asks her if she has, of late, heard a thumping sound, one familiar to them both from the bad time. He has not been around since Charlotte’s mother’s suicide. To make matters weirder, suddenly Charlotte’s former boyfriend, Joe ( Ben Schnetzer) turns up. Still later there’s word of the murder of a girl Charlotte just saw at a diner. Later on in the sweaty night there’s word of a young woman’s murder in a nearby town. At the swimming site their guy pals tease them-one actually threatens Charlotte with a lit firework to convince her to get in the water-and what seems like sophomoric hijinks carries real menace with it.
Prior to the swim, Charlotte ( Odessa Young) is caught in a dream that’s also a memory, of her mother’s suicide a year before.
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