My commendations to filmmaker Ian McCrudden, star and co-writer Thomas Hildreth, editor Marc Jozefowicz, the cast, crew, and all others involved - put very simply, this is excellent. Aided in part by Billy Mallery's softly variable, somber score, there's a pall of dreariness hanging over the picture like a persistent low fog rolling in off the coast, paired with a yearnful hopefulness. The movie is exceptionally smart about conveying the passage of time early in its length, thanks in no small part to Jozefowicz but also some keen collection of shots generally. Lent power by McCrudden's direction and Dan Coplan's cinematography, the very filming locations seem to pop to life, Maine itself becoming a character - beauty, isolation, time passing only of its own accord and change coming slowly but definitively. The story is sharp and vivid, with complicated and real characters, and cutting dialogue and scene writing. 'Islander' is a quiet drama, but a very compelling and heartfelt one, and it deserves much more recognition as far as I'm concerned.
Superb as every constituent element is, there's no one part of this that is particularly striking, demanding viewership. It's definitely an instance of the whole being greater than the sum of its parts, and that's true despite mindful direction, intelligent writing, and a splendid cast. Everyone involved turns in a performance of terrific nuance, realizing their characters with measured restraint and finesse that makes each all the more believable. Philip Baker Hall was nothing if not reliable; Amy Jo Johnson, having already demonstrated solid capability up to this point in her career, gives what might be one of her best displays of skill in her supporting part. Hildreth, Judy Prescott, young Emma Ford, and all others distinctly impress with the soulful, emotive acting they pour into the movie, more than I assumed sights unseen. And that quite goes for 'Islander' at large, brimming with stark honesty in its tale of bad judgment, learning to live with mistakes, and the connections and resentments of small communities. There's no questioning that this is a very independent film, but it digs its claws in gradually and firmly with a fierce strength and presence I just never would have anticipated.
Some big studio productions get more attention than they ever truly earn; even in the age of the Internet, when the looming stature of the studios has slightly dwindled, smaller titles still often fail to get all their due. This, I believe, is certainly one of the latter. I sat for it not knowing what to expect, and figured on some tropes that are overdone. What I got was an earnest, meaningful, impactful drama that ultimately strikes major chords that some of the most well-financed tour de forces can only dream of. I'm not saying that this is perfect; some beats are a little too on the nose, especially in the last act, and with such exactness comes a vague feeling of ham-handedness. By and large, however, this is expansively warm and engrossing, rich and flavorful from its most downtrodden through to its most welcoming. For lack of any especial vibrancy I can understand how it won't appeal to all comers, yet I'm so roundly pleased with how good this is, and frankly I'd give it a blanket recommendation for one and all. As is the way with such pictures it isn't necessarily the most readily available, but if you have the chance to watch, 'Islander' is well worth 100 minutes of your time.
