The Delta

I was into the movie as I watched it, all the while wondering where it was going. When it ended, I thought I had skipped about 30 minutes ahead, because it just seemed unfinished.

I thought the lead actor, Shayne Gray, was excellent in the part. I thought he was so natural and acted without any bit of effort. His responses, his actions, his emotions, all were very natural. I was sorry to see that this was the only film he's been in. I would very much liked to have seen him in other films.

This film was interesting, but after seeing it through to the end, there was no point to it, I'm sorry to say. I wanted to know more about where each character was going to go, but since the film is 11 years old now, there's no way that's going to happen. Worth seeing, but just be prepared that it's going to end just as it gets interesting.

Call me by your name meets Moonlight ... but with no final resolution.

Thinks it's clever, but it's not. Long, dull teenage scenes from parties made me sleep for a brief minute or two. Lincoln's struggles with his sexuality as a gay or straight man are well handled, but Minh (African-American and Vietnamese) is so clearly alienated from society that his empathy is sickening. The end of the film is fun to talk about, but this film is pretentious.

The temptation is to write about obvious good intentions. Shayne Gray is just cute and this seems be the basic virtue offered to his character .

Thang Chan performance is the basic good point of film, presenting, sure, with a good fist of ciches, the reaistic image of allianation.

The probem, maybe the first part, we intentioned , ooking for suggest the struggle of Lincoln with his sexuality but, unfortunately, too ong and pretty boring.

In short, just a familiar indie recipe, not different by another, proposing faces of loneliness and reminding social traumas in fair manner.

The end is so predictable than just works as nice confirmation of what you suppose.

So, a nice film . Sure, for a precise target.

"THE DELTA is wanting in focus, maundering in a scattershot fashion that becomes a norm in 1990s indie sphere and later the "mumblecore" in the noughties (often in default of a scintillating script and/or munificent funds). For instance, the passages depicting Lincoln's social life with his entitled friends feel wretchedly slack, totally disengaged from the film's theme. It is also not helping by the fact that Gray is a pretty but empty vase, a polite smile of condescension is his only expression regardless of what happens. However, Sachs shows more promise in his attempt to probe John's intersectionality (black, Asian, gay and immigrant constitute a gold mine, which is a rare sight). John's dialogue hews closely to the subculture vernacular and Chan pours out enough raw emotion into John's dysphoria-turned-cynicism-and-resentment, which poignantly projects a sharp political angle to elevate the film slightly above its ilks."

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